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CIHM/ICMH 

Microfiche 

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Collection  de 
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Canadian  Institute  for  Historical  Microreproductions  /  Institut  Canadian  de  microreproductions  historiques 


Technical  and  Bibliographic  Notaa/Notaa  techniquas  at  bibliographiquas 


Tha  Instituta  has  attamptad  to  obtain  tha  baat 
original  copy  avaiiabia  for  filming.  Faaturaa  of  thia 
copy  which  may  ba  bibiiographically  uniqua, 
which  may  altar  any  of  tha  imagaa  in  tha 
raproduction,  or  which  may  significantly  changa 
tha  uaual  mathod  of  filming,  ara  chackad  balow. 


□    Colourad  covars/ 
Couvartura  da  coulaur 

□   Covars  damaged/ 
Couvartura  andommagAa 

□    Covars  restored  and/or  laminated/ 
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pn    Coloured  platea  and/or  illustrations/ 


Planchaa  et/ou  illustrations  en  couleur 


Bound  with  other  material/ 
Relii  avac  d'autres  documents 


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La  re  Mure  serrie  peut  causer  de  I'ombre  ou  de  la 
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Blank  leaves  added  during  restoration  may 
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have  been  omitted  from  filming/ 
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point  de  vue  bibliographiqua,  qui  pauvent  modifier 
une  image  reproduite,  ou  qui  pauvent  exiger  una 
modification  dana  la  m^thoda  normale  de  fiimage 
sont  indiqute  ci-dessous. 

□   Coloured  pages/ 
Pagea  da  coulaur 

□    Pagea  damaged/ 
Pagea  andommagies 

□    Pages  restored  and/or  laminated/' 
Pages  restaurias  et/ou  peiliculAes 

Q    Pages  discoloured,  stained  or  foxed/ 
Paget!  dicolories,  tachaties  ou  piquies 


rn    Pages  detached/ 


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Pagea  ditachias 

Showthrough/ 
Transparence 

Quality  of  prin 

Qualiti  inigaia  de  ('impression 

Includes  supplementary  matarit 
Comprend  du  matiriai  supplimentaira 

Only  edition  available/ 
Seule  Edition  disponible 


r~7|  Showthrough/ 

|~n  Quality  of  print  varies/ 

pn  Includes  supplementary  material/ 

f~~|  Only  edition  available/ 


Pagea  wholly  or  partially  obscured  by  errata 
slips,  tissues,  etc.,  have  been  refilmed  to 
ensure  the  best  possible  image/ 
Lea  pages  totalement  ou  partiellamant 
obscurcies  par  un  fauillet  d'errata.  une  pelure, 
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Additional  comments:/ 
Commentaires  supplAmentairas: 


Irregular  pagination  :   [574]  -  593,  [831  -  92,  [837]  -  841  p. 


This  item  is  filmed  at  the  reduction  ratio  checked  below/ 

Ce  document  est  film*  au  taux  da  rMuction  indiqui  ci-dessous. 


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The  copy  filmed  here  has  been  reproduced  thanks 
to  the  generosity  of: 

National  Library  of  Canada 


The  images  appearing  here  are  the  best  quality 
possible  considering  the  condition  and  legibility 
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filming  contract  specifications. 


Original  copies  in  printed  paper  covers  are  filmed 
beginning  with  the  front  cover  and  ending  on 
the  last  page  with  a  printed  or  illustrated  impres- 
sion, or  the  back  cover  when  appropriate.  All 
other  original  copies  are  filmed  beginning  on  the 
first  page  with  a  printed  or  illustrated  impres- 
sion, and  ending  on  the  last  page  with  a  printed 
or  illustrated  impression. 


The  last  recorded  frame  on  each  microfiche 
shall  contain  the  symbol  ^^>  (meaning  "CON- 
TINUED"), or  the  symbol  y  (meaning  "END"), 
whichever  applies. 

Maps,  plates,  charts,  etc.,  may  be  filmed  at 
different  re<iuction  ratios.  Those  too  large  to  be 
entirely  included  in  one  exposure  are  filmed 
beginning  in  the  upper  left  hand  corner,  left  to 
right  and  top  to  bottom,  as  many  frames  as 
required.  The  following  diagrams  illustrate  the 
method: 


1 

2 

3 

L'exemplaire  filmd  fut  reproduit  grdce  A  la 
g6n6rosit4  de: 

Bibliothdque  nationale  du  Canada 


Les  images  suivantes  ont  6t6  reproduites  avec  le 
plus  grand  soin,  compte  tenu  de  la  condition  et 
de  la  nettet6  de  l'exemplaire  film6,  et  en 
conformity  avec  les  conditions  du  contrat  de 
filmage. 

Les  exempiaires  originaux  dont  la  couverture  en 
papier  est  imprim6e  sont  film6s  en  commengant 
par  le  premier  plat  et  en  terminant  soit  par  la 
dernidre  page  qui  comporte  une  empreinte 
d'impression  ou  d'illustration,  soit  par  le  second 
plat,  selon  le  cas.  Tous  les  autres  exempiaires 
originaux  sont  film6s  en  commenpant  par  la 
premidre  page  qui  comporte  une  empreinte 
d'impression  ou  d'illustration  et  en  terminant  par 
la  dernidre  page  qui  comporte  une  telle 
empreinte. 

Un  des  symboles  suivants  apparaftra  sur  la 
dernidre  image  de  cheque  microfiche,  selon  le 
cas:  le  symbols  —^  signifie  "A  SUIVRE  ",  le 
symbole  V  signifie  "FIN". 

Les  cartes,  planches,  tableaux,  etc.,  peuvent  dtre 
film^s  d  des  taux  de  rMuction  diff6rents. 
Lorsque  le  document  est  trop  grand  pour  dtre 
reproduit  en  un  seul  clichd,  il  est  film6  d  partir 
de  I'angle  sup6rieur  gauche,  de  gauche  d  droite, 
et  de  haut  en  bas,  en  prenant  le  nombre 
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HE  ART  MOVEMENT 
IN  AMERICA 


REPRINTED    FROM    THE    CENTURY    MAGAZINE. 


FOR  THE 


VICTORIA  SCHOOL  OF  ART  AND  DESIGN 
OF  HALIFAX,  N.  S. 


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THE  ART  MOVEMENT 
IN  AMERICA. 


THREE  ARTICLES  REPRINTED  FROM  THE  CENTURY  MAGAZINE 
FOR  THE  BENEFIT  OF 

THE  VICTORIA  SCHOOL  OF  ART  AND  DESIGN 

OF  HALIFAX,  N.  S. 


Bj^  permission  of  the  publishers, 

THE  CENTURY  CO.  NEW-YORK. 


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PREFACE. 


A  few  words  may  be  necessary  as  preface  to  this  pamphlet,  which  has  been  so 
kindly  republished  for  the  Victoria  School  of  Art  and  Desii^n,  by  THE  CEiXTURY 
Co.,  publishers,  2>i  East  Seventeenth  Street,  Union  S'piare,  Nero -York,  U.  S.  A. 

The  object  of  reprinting;  these  three  articles,  respectively  entitled  ''The  Western  ^-rt 
Movement,"  ''Hand-craft  and  Rede-craft,"  and  "Need  of  Trade  Schools,"  lahich 
appeared  last  year  in  THE  Ce.VTURV  MAGAZINE,  is,  first,  to  put  before  the  Nova 
Scotia  public,  in  as  small  a  compass  as  possible,  7c<hat  has  been  done  and  is  being 
done  in  the  far-off  IVestern  cities  of  the  United  States  by  the  establishment  of  Schools 
of  Art  and  Design,  not  only  in  encouraging  the  Fine  Arts,  such  as  painting,  sculpture, 
architecture,  but  in  giving  a  remarkable  impetus  and  a  higher  artistic  value  to  all 
the  various  branches  of  the  mechanical  and  industrial  arts.  Second,  with  a  view  of 
enlightening  the  reading  public,  how  best  to  promote  and  support  such  a  school  in 
Halifax;  and  third,  to  prove  the  immense  advantage  of  such  a  school,  7ohich  would 
afford  technical  education  in  the  mechanical  and  industrial  arts,  and  thus  facilitate 
the  production  of  articles  of  excellent  and  beautiful  workmanship,  and  at  the  same 
time  serve  to  give  our  artisans  those  advantages  which  they  are  now  obliged  to  seek 
in  foreign  cities. 


Sunny  side,  Halifax,  26th  April,  1887. 


A.  H.  LEONOWENS. 


Copyright,  1886,  by  The  Century  Co. 
Copyright,  1887,  by  The  Century  Co. 


The  Art  Movement  in  America. 


REPRINTED  FROM  THE  CENTURY  MAGAZINE. 


From  The  Qv.'i^^Y\:^»x  for  August,  1886. 


THE    WESTERN    ART    MOVEMENT. 


WHERE  the  vineyards  of  Nicholas  Long- 
worth  clothed  the  hilltops  above  Cin- 
cinnati within  the  memory  of  living  men  now 
stands  a  spacious  art  museum,  and  close  be- 
side it  there  will  be  an  art-school  building 
more  generously  appointed  than  any  other 
in  our  land.  In  St.  Louis,  where  French 
traders  gathered  with  their  furs  since  the 
opening  of  the  century,  a  new  art  museum 
supplements  the  work  of  a  school  whose  pupils 
profit  by  the  latest  lessons  of  South  Kensing- 
ton and  German  art  centers,  as  well  as  by  the 
academic  teachings  of  Paris.  Chicago,  with 
citizens  still  living  who  watched  the  Indians 
depart,  is  building  for  her  Art  Institute  a  new 
museum.  The  money  is  ready  for  art  muse- 
ums in  Milwaukee  and  Detroit.  The  Minne- 
apolis Society  of  Fine  Arts  has  established  an 
art  school  of  ambitious  plans.  The  "  first 
white  male  child  born  in  Kansas  "  is  trustee 
of  a  State  Art  Association,  and  men  who 
fought  for  "  free  soil "  are  now  collecting  auto- 
types and  casts.  These  plain  facts  have  an 
eloquence  of  their  own.  Their  story  is  told 
again  in  the  art  societies,  exhibitions,  and 
lectures  of  minor  cities  throughout  the  mid- 
dle West  and  beyond.  History  has  recorded 
the  period  of  chasing  or  being  chased  by  the 
red  man,  of  clearing  forests  and  breaking 
prairies,  the  marvelous  growth  of  agriculture, 
commerce,  and  manufactures,  and  the  result- 
ant wealth.  But  of  the  working  of  that  most 
abstract  of  all  ideas,  the  art  feeling,  little  has 
been  told.  And  now  it  is  suddenly  made 
manifest  that  the  most  active  among  the  cur- 
rent phases  of  that  formative* condition  which 
we  call  American  art  is  the  movement  in 
progress  throughout  our  West. 

If  this  active  interest  in  art  were  shown 


only  in  the  buying  of  costly  paintings  for 
private  galleries,  and  the  building  of  wonder- 
ful examples  of  architecture  for  private  occu- 
pancy, u  would  have  a  very  minor  significance. 
These  are  the  usual  accompaniments  of  pros- 
perity, too  often  the  outward  and  visible  signs 
of  a  theory  of  art  as  something  concerning 
only  a  favored  few,  as  represented  only  by 
paintings  and  statues  in  Dives's  galleries.  But 
the  Western  art  movement  with  which  we 
have  to  do  is  an  expression  of  a  broader  arid 
sounder  idea.  Some  of  our  Western  legislators 
have  been  sturdily  defending  the  thirty  per 
cent,  duty  upon  works  of  art,  doubtless  in  the 
firm  belief  that  "-t  is  an  extravagant  luxury. 
But  meantime  tne  constituents  of  these  gen- 
tlemen have  proved  their  conviction  that  art 
not  only  gives  pleasure  to  the  many,  but 
has  such  practical  value  as  to  be  worth  the 
investment  of  much  money  and  time.  The 
work  has  been  done  by  an  army  of  citizens 
without  thought  of  private  advantage.  These 
museums  and  schools  are  of  the  people  and 
for  the  people,  at  least  in  theory.  There  will 
be  discouraging  mistakes  and  experimental 
gropings,  just  as  there  have  been  museums 
which  have  become  mere  storehouses  of  curi- 
osities, and  schools  enslaved  by  routine.  But 
the  West  is  progressive,  eager  to  learn,  and 
willing  to  profit  by  the  lessons  of  past  failures. 
Her  substantial  beginnings  are  the  partial 
realization  of  ambitious  plans. 


I. 


Over  a  million  dollars  have  been  given  to 
the  art  school  and  museum  of  Cincinnati 
within  the  last  six  years.  This,  like  the  foun- 
dation of  the  College  of  Music,  is  the  ripened 


J, 


■nrii    WESTERN  ART  MOVEMENT 


577 


expression  of  an  art  sentiment  which  has  ex- 
isted for  over  forty  years.  'The  feelinj^  has 
been  fostered  by  the  large  (lernian  popula- 
tion of  the  city,  and  strongly  directed  by 
(lerman  influence,  if  one  may  judge  by  the 
continuous  devotion  to  the  Diisseldorf  cult  in 
pictorial  art.  Cincinnati  was  the  first  of  the 
Western  cities  to  become  known  as  a  home 
of  picture-collectors,  and  it  holds  the  first 
])lace  at  the  present  time  in  the  amount  of 
its  recent  gifts  to  art.  After  a  generation  of 
desultory  picture-collecting  came  an  art  school 
which  struggled  into  existence  seventeen  years 
ago,  with  half  a  dozen  pupils,  the  scant  income 
from  fees  eked  out  by  ])rivate  generosity. 
l-'rom  this  beginning  has  grown  up  a  school 
attended  by  over  four  hundred  pupils,  and 
employing  a  corps  of  ten  teachers.  Its  inde- 
]jendence  is  assured  by  a  yearly  income  of 
fifteen  thousand  dollars  from  the  Joseph 
I, ongworth  endowment  fund.  Its  new  home 
promises  to  be  the  best  American  art-school 
l)uilding.  At  the  National  Academy  in  New 
York  most  of  the  pupils  are  confined  to  two 
imperfectly  lighted  rooms  in  the  basement  and 
one  other,  'i'he  Cincinnati  art  students  will 
have  the  liljcrty  of  a  building  considerably 
larger  than  the  entire  Academy. 

AH  this  has  come  about  after  dreary  periods 
of  the  disappointment  and  discouragement 
which  are  the  lot  of  missionaries  in  art  as  in 
science  or  religion.  Once  the  doubtful  exper- 
iment was  tried  of  placing  the  school  under 
the  control  of  the  city  fathers  by  uniting  it 
with  the  University  of  Cincinnati.  The  result 
hardly  encouraged  a  desire  for  a  government 
paternal  in  its  care  of  art.  The  real  father  of  the 
school  was  the  late  Joseph  Longworth,  a  name 
intimately  associated  with  the  growth  of  art  in 
Cincinnati.  From  him  came  the  first  imjjortant 
recognition  which  the  schvjol  obtained,  proba- 
bly the  first  large  gift  to  art  made  in  the  city. 
It  was  his  intention  to  endow  the  school 
more  liberally  on  condition  that  its  control 
should  be  transferred  to  the  Museum  Asso- 
ciation. Within  thirty  days  after  his  death 
his  son  Nicholas  Longworth  carried  out  this 
intention.  The  transfer  was  effected  early  in 
188  J.,  and  the  school  endowed  with  a  fund 
of  $371,000.  And  finally — for  the  record 
of  art  in  this  fortunate  city  is  a  record  of 
acts  of  splendid  munificence — there  came  to 
the  school  from  Mr.  David  Sinton  a  gift  of 
$75,000  for  a  new  building,  and,  added  to  the 
golden  shower,  a  legacy  of  $20,000  from  the 
late  Reuben  R.  Springer.  We  speculate  upon 
the  emotions  of  the  school's  principal  as  he 
contrasts  this  era  of  great  things  with  the 
days  of  struggle,  of  the  half  dozen  pupils, 
of  aldermanic  patronage.  Yet  all  this  time 
the  school,  under  the  charge  of  Mr.  Noble. 


has  faithfully  offered  instruction  not  only  to 
pupils  from  the  ( itybut  to  others  from  all  the 
country  around. 

The  new  school  building,  like  the  art  muse- 
um, stands  upon  the  crest  of  Mt.  Adams,  three 
hundred  and  fifty  feet  above  the  ( )hio,  a  site 
given  by  the  city  in  a  park  which  probably  is 
!)etter  entitled  to  tiie  name  of  lulen  in  June 
than  when  I  saw  it  under  a  leaden  February 
sky.  Below  in  the  south-west  lay  an  "  impres- 
sion "  of  Cincinnati.  Spires  and  gables  with 
vague  outlines  underneath  ])eered  through  sad- 
colored  clouds  of  soft-coal  smoke,  nothing  de- 
fined except  the  massive  shoulders  of  outlying 
hills.  Perhaps  this  "  impressionistic  "  view 
from  the  windows  of  the  art  school  may  ofiset 
too  great  emphasis  upon  definition  in  the  class- 
room, 'i'he  buikling  will  combine  Roman- 
es(|ue  arches  with  gables  and  dormers  in  lighter 
vein,  but  in  general  it  will  harmonize  with  the 
more  consistently  Romanestjue  museum  near 
by.  The  walls  of  both  are  of  blue  limestone, 
the  roofs  of  red  Akron  tiles.  Of  light  and  air 
and  floor-space  the  art  school  should  have  an 
abundance.  The  ground  plan  is  82  feet  l)y  106, 
or  141  including  the  lecture-room,  and  there 
will  be  three  floors,  the  first  two  containing 
generous  rooms  for  primarj',  modeling,  and 
wood-carving  classes,  the  uppermost  afford- 
ing a  noble  hall  a  hundred  feet  in  length  for 
classes  in  drawing  from  casts  and  from  the 
costumed  model.  On  the  same  floor  will  be 
ten  studios,  an  excellent  feature,  which  should 
encourage  teachers  and  advance  students  to 
independent  work.  With  all  these  opportuni- 
ties, and  with  tuition  fees  a  matter  of  the  least 
consecjuence,  the  responsibility  of  him  to 
whom  much  was  given  is  certainly  heavy 
upon  this  schf)ol. 

At  present,  in  addition  to  the  usual  academic 
curriculum,  there  are  departments  of  wood- 
carving,  decorative  designing,  and  metal-work, 
and  in  the  modeling  department  some  atten- 
tion is  given  to  industrial  work.  With  a 
school  increasing  and  prospering  as  this  has 
done  in  a  city  of  comparatively  small  size, 
there  is  a  natural  tendency  toward  self-glori- 
fication, and  it  may  not  be  easy  for  a  stranger 
to  measure  justly  the  amount  of  its  ])roduc- 
tiveness.  The  princijjal  of  the  school  would 
probably  lay  the  greatest  stress  upon  the  results 
accomj/lished  by  the  academic  classes,  the 
fidelity  of  drawings  from  the  anticfue,  and  the 
accuracy  of  life-studies,  which  certainly  at- 
test the  earnestness  of  the  pupils.  Those  who 
take  up  the  study  of  art  as  an  amusement  are 
probably  in  the  majority  here  as  elsewhere. 
Some  become  teiachers  of  drawing,  and  a  few 
professional  artists  are  numbered  among  the 
graduates, one  of  whom,  Mr.  Charles  H.  Nie- 
haus,  the  sculptor  of  a  statue  of  Garfield,  has 


577 


578 


THE    WESTERN  ART  MOVEMENT. 


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recently  received  a  commission  for  an  eques- 
trian statue  of  Robert  K.  Lee.  A  score  or  more 
of  artists  have  gone  out  from  Cincinnati  to  win 
noin(onsideral)le  degree  of  ])ul)lic  recognition; 
many  of  them  have  never  Ijeen  connected  with 
the  school  as  pupils,  and  unfortunately  none 
of  the  younger  men  who  are  known  in  our 
exhibitions  and  in  the  work  of  other  schools 
have  been  retained  as  teachers. 

Hut  some  of  the  graduates  have  ap|)lied 
their  training  to  various  forms  of  industrial 
work.  The  designers  and  decorators  in  the 
Rookwood  Potteries  have  been  drawn  from 
theartschool;  itspupilshelpedtodo thewood- 
carving  ujjon  the  great  organ  in  the  Music 
Hall ;  in  the  adjoining  Odeon  the  ceiling  and 
proscenium  arch  were  decorated  by  their 
hands  ;  and  some  of  them  have  been  engaged 
in  frescoing  and  mural  painting  within  the  new 
museum.  There  is  nothing  of  all  this  beneath 
the  dignity  of  an  artist,  nothing  to  ])revent 
the  worker  from  painting  ideal  pictures  or 
modeling  statues  if  he  will.  Yet  few  art  schools 
emphasize  the  truth  that  the  principles  of  jjure 
and  applied  art  are  the  same,  and  that  the 
training  is  the  same  up  to  a  certain  point.  It 
is  our  pitiful  fashion  to  rank  as  artist  only  the 
])ainter  of  pictures  or  sculptor  of  statues. 
Perhaps  it  is  through  impatience  at  such  nar- 
rowness that  the  vulgar  have  so  misused  the 
word. 

No  application  of  art  can  bo  more  aj)- 
propriate  than  wood-carving  and  the  mod- 
eling and  decorating  of  pottery  in  a  city  where 
the  manufacture  of  furniture  is  a  large  indus- 
try, and  where  beds  of  native  clay  are  within 
easy  reach.  The  father  of  Cincinnati  wood- 
carving,  Mr.  Henry  Fry,  has  for  years  trained 
pujjils  in  the  old  apprentice  fashion,  hardly 
dignifying  with  the  name  of  school  the  work- 
shop where  he  and  his  son,  Mr.  William  Fry, 
have  wrought  in  the  s])iritc'f  true  artist  artisans. 
Instruction  in  wood-carving  by  Mr.  Benn 
Pitman  has  for  some  years  formed  a  depart- 
ment of  the  School  of  Design.  "  A\'hen  it 
became  publicly  known  that  there  was  to  be 
a  grand  organ  placed  in  the  new  Music  Hall, 
and  that  the  screen  was  to  be  built  at  home, 
all  these  people  —  men  and  women,  boys  and 
girls  —  with  whom  life  had  become  so  much 
more  beautiful  and  attractive  by  reason  of 
their  art-studies,  came  quickly  forward  and 
said  :  '  Let  us  make  the  designs ;  let  us  carve 
the  panels,  frames,  friezes,  capitals,  and  finials 
of  the  organ  screen.  We  will  work  with  hands 
and  brains  and  heart,  and  offer  the  results  of 
our  labor  as  our  contribution  toward  the 
people's  organ.' "  So  designs  for  Morning, 
Evening,  and  Noon,  with  trumpet  and  passion 
flowers,  hawthorn,  oak-leaves,  wistaria,  and 
lilies,  and  a  multitude  of  other  graceful  shapes, 


were  wrought  out  for  the  decoration  of  "  the 
people's  organ."  Mr.  William  I'ry  led  the 
work,  aidecl  by  his  daughter  and  father ; 
and  under  Mr.  Pitman's  care,  "  more  than 
a  huntlred  ladies  who  were  or  had  been 
students  of  the  carving  classes"  of  the  School 
of  Design  began  work  upon  carvings  for  the 
organ  screen.  Mr.  Springer's  generosity  was 
shown  again  in  an  offer  of  jirizes  for  the  best 
carvings  ;  but  the  offer  was  hardly  needed,  I 
fancy,  to  (juicken  the  zeal  of  the  workers, 
'{"here  is  something  very  pleasant  in  this  pic- 
ture, something  whi<h  brings  back  to  us  a 
little  of  the  spirit  of  the  cathedral-building 
age.  What  worthier  ambition  could  they 
have  than  the  development  of  a  Cincinnati 
school  of  wood-carvers,  to  be  known  like  the 
schools  of  the  middle  ages  ?  Whatever  may 
be  said  of  our  changed  conditions  and  the 
spirit  of  the  modern  time,  if  there  is  to  be  any 
abiding  vitality  in  our  art  it  must  come  partly 
from  the  encouragement  of  efforts  like  these. 
It  is  only  a  few  years  since  the  manufacture 
of  pottery  on  a  scale  of  any  importance  was 
begun  in  Cincinnati,  but  Cincinnati  pottery 
has  already  more  than  a  local  rei)Utation. 
Here,  as  in  every  phase  of  the  city's  growth 
in  art,  the  influence  of  woman  should  be  rec- 
ognized. The  Woman's  Pottery  Club,  or- 
ganized many  years  since,  has  proved  to  be 
something  more  than  "  amusement  for  the 
idle  rich."  Modeling  in  clay  and  china-paint- 
ing were  introduced  into  the  School  of  Design 
in  its  early  days.  To  a  member  of  the  club, 
Miss  Louise  McLaughlin,  is  assigned  the 
credit  of  rediscovering  the  Haviland  process 
of  decoration  under  the  glaze.  Another  mem- 
ber, Mrs.  Maria  Longworth  Nichols,  who  for 
some  time  supported  a  pottery  school,  founded 
the  Rookwood  Potteries  — an  example  of  the 
influence  of  international  expositions.  The 
Japanese  collections  at  our  Centennial  Exhi- 
bition suggested  to  Mrs.  Nichols  the  idea  of 
developing  possibilities  latent  in  the  clays  of 
the  Ohio  Valley.  At  first  the  work  of  these 
potteries  was  imitative,  naturally  enough. 
After  a  period  of  Haviland  work  with  Japan- 
ese modifications,  came  an  attemjit  at  a  dis- 
tinctive style,  but  more  or  less  assimilation  has 
been  unavoidable.  At  present  one  character- 
istic of  these  potteries  is  the  unusual  variety 
of  clay  bodies  and  glazes.  Another  is  the  ab- 
sence of  restrictions  upon  the  artists.  They  are 
not  bound,  as  in  purely  commercial  enterprises, 
to  the  production  of  a  given  amount  of  work, 
but  are  left  free  and  encouraged  in  every  way 
to  produce  individual  work.  There  must  be 
something  more  than  the  copying  of  Royal 
Worcester  or  Barbetine,  and  there  must  be 
less  deference  to  taste  for  showy  decoration, 
if  we  are  to  have  American  pottery  which 


TirE    WESTERN  ART  AfOVEMENT. 


579 


shall  be  valued  for  its  art.  A  vase  perfect  in 
the  quality  and  color  of  its  j^round  is  of  a 
very  different  rank  from  the  im|)erfe(  t  piece 
which  challenges  the  eye  by  a  mass  of  graidy 
floral  ornamentation,  'i'he  perfection  and 
strengthening  of  the  ground  and  simplicity  of 
decoration,  where  decoration  is  called  for,  are 
the  expressed  aims  of  these  potteries.  'I'here 
have  been  some  essays  in  solid  colors,  with 
glazes  of  considerable  beauty,  after  the  stand- 
ards set  by  the  greatest  ceramists  of  the  world, 
the  Oriental  artists.  Exami)les  of  this  work 
are  kej)!  before  the  designers,  as  M.  Haviland 
keeps  them  in  his  private  collection,  repre- 
senting standards  which  have  not  yet  been 
reached.  The  graduates  of  the  art  school  in 
these  potteries  may  or  may  not  l)e  called 
artists;  but  there  are  plenty  of  painters  of 
pictures  who  are  doing  far  less  to  spread  a 
love  of  art. 

The  Cincinnati  Museum  has  its  record  yet 
to  make.  The  new  building  in  Eden  Park 
is  the  result  of  ."ecent  eftbrts,  although  a  fruit- 
less attempt  o  raise  funds  for  a  museum 
was  made  ten  years  ago,  and  the  Woman's 
Art  Museum  A.  sociation  existed  long  before 
plans  were  considered  for  the  present  Ijuilding. 
But  it  was  left  for  a  man  who  knew  little  of 
art,  who  "simply  acted  upon  what  he  heard 
talked  of  about  him,"  to  make  the  first  deci- 
sive move.  It  was  in  September,  1880,  that 
the  "  talk  "  was  crystallized  into  shape  by  an 
offer  from  the  late  Charles  W.  West  of 
$150,000  for  a  museum  building,  conditional 
upon  the  raising  of  a  like  sum  by  subscrip- 
tions. There  was  a  prompt  response.  The 
first  report  of  the  Museum  Association,  for 
1882,  contains  a  list  of  four  hundred  and 
fifty-five  subscribers,  who  gave  from  $5  to 
$10,000  each,  the  total,  including  the  gift  of 
Mr.  West,  amounting  to  $316,000.  The  city 
gave  a  building  site,  and  the  next  question 
was  answered  by  Mr.  West.  "  A\'e  have  money 
enough  to  build  our  museum,"  he  said,  "  but 
how  shall  we  supjjort  it  ?  "  The  answer  was  an 
endowment  of  $150,000,  a  gift  made  known 
at  l!io  opening  of  temporary  exhibition  rooms 
in  1882.  Like  the  memory  of  Peter  Cooper 
in  New  York,  the  memories  of  Longworth, 
West,  and  Springer  will  be  kept  alive  l)y  their 
l)enefactions  to  their  city. 

The  new  museum  building  has  a  substantial, 
simple  character,  and  the  rounded  bluffs  of 
the  vicinity  are  surroundings  not  ill  adapted 
to  the  Romanesque.  The  present  building 
represents  only  the  central  pavilion  and  west 
wing  of  the  future  museum  as  ])ictured  in  tlie 
dreams  of  its  friends.  But  the  present  dimen- 
sions, 214  feet  in  length  by  107  in  width,  fur- 
nish enough  floor-space  for  immediate  needs. 
A  touch  of  impressive  effect  is  given  by  a 


spacious  arched  entrance,  opening  into  a  lofty 
hall  with  a  double  stairway,  buttressed  with 
blocks  of  Missouri  granite.  I'or  the  rest  there 
are  the  usual  work-shops  and  rooms  for  casts 
in  the  basement,  a  sculpture  gallery,  rooms 
for  textile  fabrics  and  four  for  Klkington  repro- 
ductions on  the  first  floor,  and  black-and-white 
and  oil  galleries  on  the  second.  The  black- 
and-white  room  contains  a  collection  of  nine 
hundred  drawings  by  C.  F.  Lessing — one  of 
the  distinctive  features  of  the  museum  ( ollec- 
tions.  There  is  said  to  be  no  such  collection 
of  black-and-white  work  by  the  i)rolific  Ber- 
lin acadeniist  in  any  other  museum,  and  the 
contemplation  of  his  careful  drawing  and 
sturdy  realism  is  exi)ected  to  jjrove  invalu- 
able to  art  students.  Couture,  beloved  of 
Boston  art  students,  would  be  a  heretic  here. 

'I'he  ])aintings  represent  (lerman  art,  with 
the  exception  of  some  copies  of  "old  masters," 
a  few  American  pictures,  and  three  or  four 
French  works  of  the  academic  order.  Here 
are  the  Achenbachs,  Hubner,  Lessing,  Hum- 
bert, Robbe,  and  Verboeckhoven,  b".t  une 
looks  vainly  for  examples  of  the  progres- 
sive French  painters  from  Delacroix  down. 
Was  it  a  Cincinnati  collector  who  declared 
that  he  had  never  seen  a  French  picture  to 
which  he  would  give  house-room  ?  And  was 
it  one  of  his  fellow-citizens  who  solemnly  led 
a  wondering  visitor  to  a  painting  by^'erboeck- 
hoven,  saying  with  impressive  gesture,  "  That, 
sir,  that  is  not  a  sheep.  It  is  a  Madonna  !  " 
Like  the  Pennsylvania  Academy  of  Fine  Arts, 
the  museum  has  an  examj)le  of  the  uproari- 
ous heroics  in  which  our  grandfathers  de- 
lighted, an  "nnportant"  painting  by  Benjamin 
West,  "Ophelia  before  the  King."  At  present 
there  is  in  the  museum  another  example  of 
the  English  historico-heroic  school  by  Benja- 
min Robert  Haydon,  "  Christ's  Entry  into 
Jerusalem,"  the  only  one  of  his  pictures  jirob- 
ably  in  this  country.  More  cheerful  than 
West's  disheveled  Ojjhelia  is  the  aspect  of  a 
sunny  corner  room  devoted  to  the  "  Hilling- 
ford  collection  of  armor,"  comprising  half 
a  lozen  suits  and  eighty  or  ninety  arms.  A 
collection  of  two  hundred  pieces  of  pottery, 
increasing  from  year  lo  year,  illustrates  the 
progress  of  work  at  the  Rook  wood  Potte- 
ries. These  examples  have  been  given  by  the 
^V^oman's  Art  Association,  and  there  are  a 
few  pieces  from  the  Kezonta  Potteries.  A 
somewhat  scanty  supj^ly  of  casts  includes  a 
few  from  groups  modeled  by  pupils  of  the  art 
school,  who  are  also  represented  by  a  few 
paintings  in  the  galleries.  Some  sculptures, 
tapestries,  and  coins  attest  the  generosity  of 
the  museum's  friends. 

Nearly  four-fifths  of  the  museum  collections, 
now  valued  at  one  hundred  and  fifty  thou- 


579 


SSo 


THE    WESTERN  ART  MOVEMENT 


lottery, 
tes  the 

Potte- 
l)y  the 

are  a 
les.  A 
udes  a 
the  art 
a  few 
ptiires, 
sity  of 


sand  dollars,  have  come  as  gifts,  the  most  con- 
siderable being  the  Longworth  and  Springer 
collections  of  paintings  and  drawings.  With 
the  exception  of  the  I'llkington  reproductions 
of  metal- work  and  Hellingford  collection  of 
arms  and  aniKjr,  tliere  have  been  no  pur- 
chases of  consetpieni  e  for  a  reason  common 
to  nearly  all  our  nmseums  with  the  excej)- 
tion  of  the  Corcoran  gallery.  'I'he  income 
of  this  musei'm,  derived  from  the  West  and 
Springer  endowment  funds,  amounts  to  only 
al)()ut  thirteen  thousand  dollars,  less  than 
that  of  the  art  school,  a  sum  sufficient  for  its 
maintenance,  but  ])ermitting  little  in  the  way 
of  outside  expenditures.  But  the  noble  spirit 
which  the  citizens  of  Cincinnati  have  shown 
promises  to  rescue  this  museum  from  the  de- 
pendent condition  of  similar  institutions.  The 
museum  which  is  powerless  to  exercise  a  right 
of  selection  may  well  fear  "  those  bearing 
gifts."  It  is  compelled  to  become  a  recepta- 
cle for  all  manner  of  odds  and  ends,  prized, 
no  doubt,  by  the  donors,  but  in  reality  curi- 
osities without  educational  value.  Meantime 
the  director  may  be  fully  aware  of  the  sug- 
gestions su])i)lied  by  such  museums  as  those 
of  South  Kensington  and  IJrussels.  He  may 
understand  the  value  of  such  mtluences  as 
are  exerted  by  the  collections  in  the  Uerlin 
and  Munich  industrial  art  museums,  by  the 
Museum  of  the  Decorative  Arts  in  Paris,  by 
the  recentl)'  established  Museum  of  Compara- 
tive Sculpture  at  the  Trocadero  Palace,  and 
the  gallery  of  ])hotographs  at  the  Louvre. 
Yet  without  an  endowment  fund  providing 
for  purchases  his  hands  are  tied. 

'I'he  director  of  our  Centennial  Exhibition, 
General  A.  T.  (loshorn,  is  the  director  of  the 
Cincinnati  museum  and  school,  an  assurance 
of  their  com])etent  and  harmonious  adminis- 
tration. The  lessons  of  the  industrial  art 
movement  will  not  be  lost  upon  Cincinnati  if 
the  director  is  sustained  in  the  execution  of 
his  plans  for  the  art  school.  These,  as  sum- 
marized in  his  last  report,  are  "  to  secure  in- 
struction and  training  that  will  fit  students  for 
occu])ations  requiring  artistic  skill,  and  to 
make  practical  applications  of  art  to  the 
ordinary  uses  of  life.  .  .  .  The  school  must 
become  an  important  factor  in  this  region 
in  the  dissemination  of  art  and  in  inducing 
its  proper  application  to  the  industries."  At 
the  time  when  this  report  was  in  prepara- 
tion, the  editor  of  the  "Courrier  de  I'Art"  in 
Paris  was  commenting  upon  Cincinnati's  new 
museum  and  school  with  the  almost  de- 
spairing exclamation,  "  Blind  those  who  do 
not  wish  to  comprehend  that  on  all  siiles, 
in  the  entire  universe,  they  wage  obstirate 
war  against  the  industrial  art  supremacy  of 
France." 


Wuh  the  exception  of  the  museum  pre- 
sented to  the  School  of  line  Artsby  Wayman 
and  Isabella  Crowe  there  has  been  no  large 
gift  to  art  in  St.  I.ouis.  'i'he 'School,  which  lor 
seven  years  has  been  a  formally  recognized 
department  of  the  Washington  Iniversity,  is 
without  endowment.  And  yet  a  school  which 
might  easily  have  sunk  into  an  inconse(|uen- 
tial  routine  department,  and  a  museum  which 
might  have  become  a  storehouse  for  curiosi- 
ties with  ample  i)recedent,  have  been  made 
one  harmonious  instrument  for  the  execution 
of  a  purpose  as  broad  as  that  represented  by 
South  Kensington.  It  is  here  that  the  element 
of  personality  comes  in.  This  must  be  em])ha- 
sized  in  noting  methods  and  results  in  St. 
l.ouis.  In  twelve  years  the  director  has  buill 
U[)  a  school  whose  aim  is  the  widest  ilevelop- 
ment  of  individual  abilities,  and  whose  advan- 
tages leave  nothing  more  to  be  obtained  in 
this  country ;  a  school  not  merely  academic, 
but  constantly  teacliing  the  dignity  and  value 
of  the  application  of  art  education  to  indus- 
try. This  personal  influence  is  felt  in  the 
corps  of  teachers,  enthusiastic  artists  trained 
in  the  studios  of  Dupre,  (lerome,  Boulanger, 
V'von,  Cabanel,  Lefebvre,  and  Ikirth.  It  is 
to  be  recognized  in  the  selections  for  the 
museum  collections,  the  judiciously  chosen 
casts,  the  autotypes  and  carbon  prints,  ;he 
examples  of  metal-work,  potteries  and  wood- 
carving,  all  selected  with  a  view  to  their  edu- 
cational value.  It  is  not  strange  that  this 
active  jjersonality  has  enlisted  the  practical 
sympathy  of  one  citizen  after  another,  and  that 
outside  aid  has  again  and  again  been  forth- 
coming, to  su|)ply  this  or  that  deficiency.  The 
story  of  the  St.  Louis  school  shows  that  ear- 
nest and  practical  art-work  is  a])preciated  by 
those  whom  dilettanti  rank  as  Philistines. 

The  class-work  of  the  school  is  constantly 
supplemented  by  references  to  standards  fixed 
by  the  great  artists  of  the  past.  Th.e  museum 
collections  are  in  actual  use,  not  mere  ol)jects 
of  wonder  for  the  idle  and  curious.  In  the 
regular  classes  the  first  aim  is  to  develop  a 
truthful  apprehension  of  construction,  and 
then  of  values  and  relations.  High  finish  is 
disregarded.  In  the  elementary  class  the 
pupil  first  works  outline  and  shaded  drawings 
from  objects  whose  contours  are  straight  lines. 
He  advances,  after  mastering  difficulties  due 
to  the  position  of  these  objects,  to  simpler 
geometrical  forms,  the  curves  of  Creek  vases 
and  models  patterned  after  the  antique.  Then 
comes  drawing  from  models  of  portions  of 
the  human  figure,  and  models  of  natural  ob- 
jects like  fruit  and  foliage  and  of  architectural 
forms.    In  the  antic [ue  class,  a  comprehensive 


THE    WESTERN  ART  MOVEiMENT. 


SSi 


\% 


m 


ART    SCHOOL    AND     Ml'SElM,     CINCINNATI,     OHIO. 


method  of  drawing  and  the  education  of  the  (hscarded.     Close  observation,  patience,  and 

eye  are  the  desired  ends,  rather  than  pictorial  perseverance  are  necessary  here,  and  the  eye 

finish  and  the  mere  training  of  the  hand.    At  is  taught  comprehension  of  general  laws  of 

the  same  time  no  chance  is  allowed  for  "  ac-  construction  asAvell  as  of  lines  and  superficial 

ciilental  effects,"  and  all  stump  processes  are  forms.  Gerome's  plates  are  constantly  referred 


CARVED    PANEL  —  HAWTHORN. 

Vol..  XXXTI.— 74. 


CARVED    FANEI SWAMP    ROSE. 


UY     STfllFNTS    OK    Tllli    CINCINNATI    ART     SCHOOL. 


SSi 


582 


THE    WESTERN  ART  MOVEMENT. 


^ 


WOOD-CARVING    f  N'    ORGAN    IN    Ml'SIC    HALL,    CINCINNATI,     BY    I'l'I'ILS    OF    THE    ART     SCHIIOL. 

to  in  the  work,  and  in  the  life  class  more  at- 
tention is  given  to  drawing  than  to  painting. 
"  In  all  cases  the  careful  study  of  the  model 
and  a  conscientious  search  for  contours  and 
construction  recjuiring  continual  use  of  the 
mind  are  insisted  upon.  No  effort  is  made  to 
])ring  the  students  to  a  uniformity  of  method, 
except  to  the  extent  of  instructing  them  to 
see  forms  as  tliey  really  exist."  Pupils  are 
taught  to  view  their  subjects  as  a  whole,  tiius 
properly  subordinating  parts  and  details.  At 
the  same  time  there  is  urged  upon  them  self- 
reliant  and  conscientious  care  in  determin- 
ing and  working  out  each  part,  tiiat  the  eye 
may  grasp  and  the  hand  reproduce  exactly 
what  is  seen  in  the  natural  form.  Modeling 
in  the  day  <;lassos  is  intended  to  supplement 
work  in  drawing  and  painting,  but  for  the 
night  pupils,  most  of  whom  are  artisans,  the 
work  is  more  specific,  consisting  largely  of 
forms  used  in  exterior  decoration  and  in  archi- 
tecture. In  mechanical  drawing  more  or  less 
outside  theoretical  instruction  is  necessitated 


by  the  fact  that 
many  pupils  come 
directly  from  their 
work-shops  entire- 
ly uneducated. 

That  there  may 
be  no  tianger  of 
routine       instruc- 
tion, each  teacher 
spends  every  sec- 
ond or  third  year 
abroad,   returning 
refreshed  and  in- 
vigorated   to    the 
work  of  the  school. 
The  old  tendency 
of  the  college  was 
to    make    of    the 
teacher     a     mere 
class-room   figure, 
a   setter   of  tasks 
and  hearer  of  les- 
sons. The  broader 
idea  is  to  allow  that 
teacher     opportu- 
nities for  original 
research,  for  a  de- 
velopment of  him- 
self and  an  addi- 
tion to  the  world's 
lore,     which     will 
react  favorably  ujj- 
on  his  pupils.  This 
principle  is  applied 
at   the    St.    Louis 
School     of     Fine 
Arts.    The  teach- 
ers are  allowed  to 
develoj)  themselves  abroad.    At  home  they  are 
encouraged  to  "  bring  out  the  best  that  is  in 
them";  and  to  secure  favorable  conditions  for 
their  creative  work,  they  are  to  be  provided 
with  private  studios.   There  is  like  encourage- 
ment for  the  pupils.    No  promises  are  made, 
no  scholarships  offered,  but   the    pupil  who 
shows  himself  extraordinarily  deserving  is  very 
apt  to  find  the  way  clear  for  a  continuance  of 
his  studies  abroad.  These  are  but  a  few  illus- 
trations of  the  director's  influence  within  the 
school,  and  outside  upon  men  willing  to  heli) 
on  a  good  cause  presented  in  concrete  form. 
By  and  by  larger  gifts  will  open  a  wider  field 
of  usefulness. 

In  the  museum  the  pu])ils  find  models  by 
which  to  correct  their  faults.  Suppose  a  pupil 
shows  a  tendency  to  mere  drawing  for  effect : 
the  director  or  teacher  ])resently  places  be- 
side the  drawing  an  autotype  or  carbon  print 
which  points  a  moral  ;  and  so  with  drawings 
overwrought  in  details.  There  are  several 
hundred  autotype  reproductions  of  sketches, 


THE    WESTERN  ART  MOVEMENT. 


'Ill 


583 


studies,  and  paintings  by  masters  from  the 
fifteenth  century  to  the  present  time.  There 
are  over  a  thousand  carbon  jirints  made  from 
collections  in  the  Jiritish  Museum.  They  illus- 
trate the  historical  development  of  art,  like 
the  collection  of  casts,  which  number  over  five 
hundred.  In  both  collections  waste  has  been 
avoided.  Each  cast  is  typical,  representative 
of  a  time,  and  its  relations  are  illustrated. 


to  be  reached  by  casts,  autotypes,  and  oil- 
paintings.  The  paintings  belonging  to  the 
museum  are  very  few  in  number.  There  is 
no  chamber  of  horrors  yclept  "  eld  masters," 
no  dreary  collection  left  by  the  misdirected 
munificence  of  well-meaning  but  uninstructed 
citizens.  The  truly  American  idea  of  an  art 
museum  —  a  costly  building  filled  with  paint- 
ings usually  dear  at  any  price — is  not  realized 


^r^<^\ 


KNIKANIK     HAI.I,,     CINCINNATI     MISKIM. 


Here  are  o])ject  lessons  for  the  youthful  stu- 
dent, ranging  from  Egyptian  and  Assyrian 
reliefs  to  the  sculptures  of  Michel  Angelo. 
One  of  several  architectural  casts  is  without 
a  duplicate  in  this  country.  This  is  a  cast  of 
the  shrine  of  St.  Sebald,  in  the  church  of  that 
name  at  Nuremberg,  which  was  wrought  in 
the  early  sixteenth  century  by  Peter  Vischer 
and  his  five  sons.  The  original  is  of  metal-work, 
a  branch  of  art  which  is  fully  recognized  in 
the  museum  collections.  The  value  of  casts 
and  autotypes  is  acknowledged  in  our  muse- 
ums, although  it  may  be  difficult  to  recall  such 
complete  collections  as  these  in  any  city  ex- 
cept Boston.  But  the  plan  of  selection  fol- 
lowed here  has  included  other  ends  than  those 


in  St.  Louis.  The  paintings  selected  for  tiie 
museum  are  not  to  tell  a  story  or  tickle  an 
idle  fancy,  but  to  teach  one  really  interested 
in  art  something  of  values  and  relations,  or  a 
hint  in  composition,  or  something  of  breadth 
and  freedom. 

Pelouse.  Harry  Thompson,  and  Louis  Loir 
are  among  the  ])ainters,  but  their  work  is  subor- 
dinate to  the  collections  of  metal  and  potteries. 
There  are  several  cases  of  cast-iron  reproduc- 
tions, of  armor  of  the  (jernian  and  Italian 
renaissance,  of  Roman,  Oriental,  Gothic, 
and  French  forms,  selected  for  the  fineness 
of  the  designs,  and  to  show  iron-molders  and 
foundrymen  what  has  been  done  with  com- 
mon iron,  of  poorer  (juality  than  that  used  in 


.S83 


584 


THE    WESTERN  ART  MOVEMENT 


u 


w. ' 


LATE    WORK, 


St.  I>ouis.  In  line  with  this  purpose  is  the  selection 
of  several  cases  of  electrotype  reproductions,  pre- 
sented by  a  most  judicious  friend  of  the  museum. 
Examples  of  Nuremberg  and  Ilsenberg  iron-work 
enforce  this  appeal  to  tlie  interest  of  men  engaged 
in  the  manufacture  of  iron,  St.  Louis's  greatest 
industry.  The  collection  of  pottery  includes  salt- 
glazed  stoneware  from  the  village  of  Hoehr,  neai 
Coblenz,  a  headquarters  for  ])Ottery  since  1400, 
with  a  representative  group  of  Doulton  ware  chro- 
nologically arranged,  examples  of  other  English 
wares,  and  of  Chinese  porcelains. 

Cases  of  fictile  ivories  reproduced;  and  a  room 
with  a  Henri  IV.  mantel,  to  be  devoted  to  old 
carved  furniture,  teach  lessons  in  design  to  carvers 
of  wood  or  metal-workers.  Everything  is  signifi- 
cant ;  everything  expresses  a  welcome  to  artist 
or  art  student,  to  designer,  draughtsman,  or  prac- 
tical worker.  The  spectacle  of  blacksmiths  intently 
studying  Nuremberg  iron-work,  and  the  knowledge 
that  these  men  are  embodying  hints  received  at 
the  museum  in  their  work,  are  amjjle  compensa- 
tion for  the  absence  of  ''  old  masters "  of  the 
American  variety. 

Out  of  Massachusetts  comes  the  cry  that  her 
industrial  supremacy  is  in  danger,  that  her  coarser 
industries  are  going  10  the  South  and  West,  that 
only  by  the  develo])ment  of  the  finer  industries  can 
New  England  hold  her  own.  Yet  the  St.  Louis 
School  of  Fine  Arts  is  as  near  to  Europe  as  the 
Boston  schools.  Yearly  the  director,  after  visiting 
the  schools  and  museums  of  this  country,  goes  to 
study  the  latest  results  of  the  South  Kensington 
system,  visits  English  potteries,  the  Continental 
schools  and  museums,  notes  the  work  of  artist  arti- 
sans at  Bruges,  Nuremberg,  Ilsenberg;  and  after 


THE    WESTERN  ART  MOVEMENT. 


58s 


this  glimpse  of  art  industry  as  well  as  art  abroad, 
he  returns  to  apply  these  first  lessons  at  St. 
Louis,  and  to  teach  them  in  lectures  delivered 
throughout  the  West.  "  As  Cardinal  Wiseman 
expressed  it,  'Thus  we  find  art  and  industry 
hand  in  hand,  stimulating  and  sujjporting  each 


can  hope  for  no  monopoly  of  the  finer  indus- 
tries. "  The  work  to  be  done  in  the  West,"  to 
quote  Professor  Ives  again,  "  is  not  to  bring 
French  or  other  paintings  before  the  public, 
but  to  do  something  with  raw  material. 
Nearly  all  the  useful  ores,  with  iron  at  the  head, 


1     !f 


PROPOSED     KAST    WINC.     OK     UNCINNATI     MlSlilM. 


Other.'  To  bring  about  this  relation  between 
art  an:!  industry  through  the  medium  of  our 
schools  and  museums  of  art  is  the  work  to 
which  we  in  the  West  should  give  our  ener- 
gies." With  such  doctrines  preached  and 
practiced  up  and  down  the  West,  the  East 


are  found  in  Missouri.  What  the  school  and 
museum  must  help  in  doing  is  the  working  up 
of  these  ores  with  brains,  so  that  the  work  shall 
be  recognized,  and  a  school  founded,  like  those 
of  the  Nuremberg  and  Belgian  iron-workers." 
The  force  of  this  is  being  grasped  by  more 


585 


586 


THE    WESTERN  ART  MOVEMENT 


STATIE    OF    GARFIELD,     CINCINNATI. 
DESIGNED    nV    CHARLES    II.     NIEHAUS. 

and  more  people  through  the  West.  Some  of 
the  examples  of  art  in  the  museum  were 
given  by  a  man  who  had  refused  to  do  any- 
thing of  the  kind  for  a  time,  supposing  that 
the  museum  was  only  for  pictures.  But 
when  he  learned  the  director's  ideas  his  gifts 
came   at    once.     Yet   in  the  museum  there 


are  always  good  pictures,  few  though  they  be, 
with  loan  exhibitions  from  time  to  time.  In 
the  way  of  academic  education  the  school 
aims  to  do  all  that  any  school  can  do  in 
this  country.  But  these  distinctions  in  terms 
are  confusing.  What  the  St.  Louis  school 
aims  to  do  is  to  give  the  best  ])ossible 
training  in  art  which  within  certain  limits  is 
equally  of  use  in  painting  pictures  or  decora- 
tive designing,  in  modeling  statues,  or  in  the 
designing-rooms  of  a  stove-foundry.  The  col- 
lections in  the  museum  and  the  pecuniary  re- 
sources of  the  school  are  not  large,  but  the 
work  already  done  shows  how  much  can  be 
accomplished  despite  limited  opportunities, 
with  a  catholic  and  wisely  ordered  purpose. 


in. 


In  its  relations  to  art  the  Western  metropolis 
resembles  to  an  extent  the  metropolis  of  the 
East.  Chicago  contains  more  professional 
artists  than  any  other  Western  city,  and  this 
implies  a  picture  market  of  some  consequence. 
Various  art  associations  center  in  the  city,  and 
there  are  frequent  exhibitions  of  considerable 
importance.  Of  imposing  business  blocks  and 
costly  residences  there  is  no  lack,  but — and 
here  again  the  resemblance  to  New  York  comes 
in  —  there  is  a  curious  apathy  regarding  the  ad- 
vancement of  the  cause  of  art  education.  The 
unselfish  public  spirit  which,  as  in  Cincinnati, 
manifests  itself  in  the  building  of  art  museuftis 
and  the  generous  endowment  of  art  schools,  is 
not  yet  awakened  in  Chicago,  although  all  this 
may  be  close  at  hand.  The  youth  of  the  city,  its 


•'JK 


:..  -^^ 


DKSION    FOR    SINTON    ni'ILDING    FOR    THF,   CINCINNATI    ART    SCHOOL. 


S.W'.M'iA'uUffl/N,  ArfCHT  JttOiL, 


THE    WESTERN  ART  MOVEMENT. 


I'J 


S«7 


marvelous  development,  its  still  more  marvel- 
ous uprising  since  its  destruction  fifteen  years 
ago,  are  explanation  enough,  perhaps,  for  the 
preoccupation  of  its  citizens  with  individual  ma- 
terial i.Ucrests.  "  What  has  been  done  for  art?" 
one  asks.  "  What  gifts  have  you  made  ? 
What  facilities  for  education  in  art  have  you 
placed  within  the  reach  of  your  people  ? " 
And  the  answer  is,  "  Wait.    \Ve  are  young. 


sentative  art  institution  of  the  city  is  without 
any  endowment,  and  its  usefulness  is  limited 
by  the  want  of  funds.  1 1  has  received  no  large 
gifts  either  of  money  or  collections.  Yet  the 
.\rt  Institute  of  Chicago  is  attended  in  the 
course  of  the  year  by  some  four  iiundred 
pupils,  and  is  soon  to  take  possession  of  a 
new  building,  which  with  the  land  represents 
a  value  of  two  hundred  and  fifty  thousand 


v-i    , 


'' 


LECTIRE    ROOM,    ST.    LOl'IS    MUSEUM. 


This  ground  was  cleared  of  Indians  hardly 
fifty  years  ago.  Look  at  our  business  streets 
and  avenues  of  private  residences.  Remember 
our  population  of  three-tjuarters  of  a  million 
and  our  vast  business  interests.  Remember 
that  the  men  whom  you  meet  have  been  work- 
ing night  and  day  for  fifteen  years  to  build 
this  great  city  up  from  ashes.  Their  energies 
have  been  absorbed  in  material  things.  The 
next  generation  will  have  money  and  time  for 
something  else.  Thechangeiscoming;  indeed, 
it  is  already  felt.  In  Chicago  we  act  quickly. 
The  art  in  the  air  will  materialize  into  gifts 
and  endowments,  and  all  at  once  Chicago  will 
be  the  art  center,  as  she  is  now  the  business 
center,  of  the  West." 

All  this  is  characteristic.  The  influence  of 
local  ])ride  will  count  for  something.  Chicago 
will  not  long  nHow  herself  to  lag  behind  St. 
Louis  and  Cincinnati.     At  present  the  repre- 


dollars.  This  is  the  result  of  a  "  business  man- 
agement." The  money  has  been  obtained  from 
gifts,  chiefly  of  a  thousand  dollars  each,  from 
membership  fees,  and  from  loans  upon  Ijonds 
secured  by  mortgages  on  the  proj)erty.  Inter- 
est upon  these  bonds  and  the  running  expenses 
are  to  be  met  for  a  time  by  renting  parts  of  the 
building  to  various  societies.  Membership  fees 
and  dues  are  to  cover  the  expenses  of  exhibi- 
tions. The  school  is  dependent  upon  its  tuition 
fees.  In  short,  both  museum  and  school  are  in- 
dependent and  self-supporting.  Thanks  to  the 
prudence  of  business  men,  the  Art  Institute 
has  maintained  itself  successfully  during  the 
seven  years  since  its  incorporation.  Through 
the  energetic  efforts  of  the  president,  Mr. 
Charles  L.  Hutchinson,  the  credit  of  the  In- 
stitute is  firmly  established,  and  its  future  seems 
certain  even  without  the  outside  help  \\  hich 
is  needed  to  increase  its  usefulness. 


5«7 


588 


THE    WESTERN  ART  MOVEMENT. 


PRODIGAL    SON,    ST.    LOUIS.      DESIGNED    B*"    R.   P.   BRINGHURST. 

At  least  the  new  building  is  an  important 
step  forward.  The  Chicago  Academy  of 
Design,  founded  nearly  twenty  years  ago, 
once  controlled  a  building  nominally  its  own, 
but  this  was  destroyed  in  the  great  fire.  The 
Academy,  in  which  Mr.  Leonard  W.  Volk  was 
a  leader,  was  primarily  an  association  of  artists. 
It  maintained  a  school,  and  owned  some  small 
collections.  But  when  the  business  men  who 
were  members  left  the  organization  in  1879 
to  found  the  Academy  of  Fine  Arts,  now 
called  the  Art  Institute,  the  life  of  the  old 
Academy  seems  to  have  departed,  although 
it  is  still  a  chartered  and  officered  association. 
It  was  in  1S82  that  the  Institute  was  estab- 
lished on  its  present  site,  where  the  museum 
occupied  an  old  building,  and  one  was  after- 
ward erected  for  the  school.  The  latter  re- 
mains. The  substantial  brown-stone  building 
now  going  up  stands  on  the  corner  of  Michi- 
gan Avenue  and  Van  Buren  street,  fronting 
a  narrow  park  along  the  lake  front. 

The  plans  for  the  interior  include  a  lecture- 
room,  several  galleries,  and  other  exhibition 
rooms,  with  studios  and  rooms  for  modeling 
and  carving,  and  others  to  be  temporarily 
occupied  by  the  Decorntive  Art  Society  and 


various  clubs.  The  entire  building  is  de- 
signed for  the  use  of  the  Art  Institute.  Only 
a  part  of  the  exhibition  space  will  be  occu- 
pied by  the  hundretl  or  so  casts,  and  the  few 
oil-paintings  and  autotypes  belonging  to  the 
Institute,  the  nucleus  of  a  collection.  Ameri- 
can art  has  found  early  representation  in  "  Les 
Amateurs,"  by  Mr.  Alexander  Harrison,  and 
"  The  Beheading  of  John  the  Baptist,"  by  Mr. 
Charles  Sprague  Pearce.  But  the  galleries 
will  be  filled  for  the  most  i)art  by  loan  exhi- 
bitions. Last  year  the  Institute  held  fourteen, 
including  paintings,  sculpture,  engravings, 
autotypes,  pottery,  illustrative  designs,  etch- 
ings, and  black-and-white  drawings.  Both  the 
Western  Art  Association  and  the  Bohemian 
Art  Club  of  Chicago  held  exhibitions  in  tiie 
galleries  of  the  Institute.  All  this  is  helpful 
to  the  pupils  of  the  school,  as  well  as  interest- 
ing to  the  public.  For  further  stimulus  the 
pupils  have  lectures  by  the  director  of  the 
Institute,  Mr.  W,  M.  R.  French,  and  others, 
and  two  or  three  times  the  pupils  have  made 
sketching  expeditions  of  some  duration — one 
to  the  Natural  Bridge  in  Virginia. 

These  are  aids  outside  of  the  regular  curri- 
culum of  the  school,  which  is  mainly  academic 
like  the  leading  art  schools  of  the  East,  with 
which  it  claims  equality.    There  are  the  usual 


CAST    SHRINK    KKOM    NlKKMllEKG,    IN    ST.    LOUIS. 


THE    WESTERN  ART  MOVEMENT. 


589 


grades  and  classes,  with  a  somewhat  unusual 
range  of  mediums,  which  includes  pastel  draw- 
ing, monotypes,  and  etching.  Nothing  seems 
to  be  omitted  which  jjertains  to  academic  art 
education,  and  there  is  also  a  class  in  decora- 
tive designing.  The  teachers  for  the  most 
part  have  been  trained  at  Munich,  but  prac- 
tices which  originated  in  French  ateliers,  like 
the  use  of  Julian's  flats,  and  drawing  from 
blocks  to  get  ideas  of  construction,  are  com- 


the  school  as  yet  have  taken  little  part  in  the 
decorative  art  work  of  the  city.  He  had  been 
able  to  find  but  one  competent  American  de- 
signer, and  that  one,  significantly  enough,  was 
a  graduate  of  the  St.  Louis  school.  The 
Chicago  Pottery  Club,  which  includes  sev- 
eral graduates  of  the  school  among  its  mem- 
bers, has  held  several  exhibitions  of  merit. 
But  there  has  been  no  application  of  art  to 
pottery  or  metal-work  on  a  larg    scale. 


m^% ..  ... 


ST,    I-Ol'IS    MUSEUM     OK    ART. 


mon  here  as  in  most  modern  schools.  As  to 
the  pupils,  it  would  be  unfair  to  judge  so  young 
a  school  by  the  achievements  of  its  graduates. 
Their  history  is  like  that  of  the  graduates  of 
other  American  schools.  Most  of  them  study 
art  for  amusement,  or  as  an  accomplishment. 
Some  become  teachers.  Not  more  than  one 
or  two  per  cent.,  I  am  told,  become  i)rofessional 
artists.  As  to  results  obtained  in  the  applica- 
tion of  art  to  industry,  there  is  still  less  to  be 
said.  The  night  classes,  as  in  Cincinnati  and 
St.  Louis,  are  attended  by  many  lithographers, 
draughtsmen,  and  engravers,  and  the  influence 
counts  for  something.  The  head  of  a  large 
firm  of  designers  and  decorators  is  teacher  of 
a  night  class.  His  testimony  is  that  pupils  of 
Vol..  XXXII.— 7s. 


All  that  is  claimed  for  the  Art  Institute,  even 
with  its  costly  new  building,  is  that  it  repre- 
sents a  beginning.  The  management  of  the 
Art  Institute  is  vested  in  some  of  the  active 
business  men  who  have  won  for  their  city  its 
great  material  prosperity.  This  is  surely  a  for- 
tunate omen.  Moreover,  whatever  facilities 
these  men  may  procure  will  be  discreetly  util- 
ized. The  director  of  the  school  wisely  recog- 
nizes the  value  of  individuality,  and  this  he 
aims  to  encourage  while  maintaining  regular- 
ity and  discipline.  He  looks  forward  to  keep- 
ing his  pujiils  for  four  years,  teaching  them  to 
use  their  hands  and  eyes,  and  at  the  same 
time  e(iuipping  them  with  a  truly  liberal  educa- 
tion obtained  through  artistic  channels.  More 


5«9 

art  in  the 
had  been 
rican  de- 
•iigh,  was 
ol.  The 
ides  sev- 
its  meni- 
:>(  merit, 
of  art  to 
lie. 


59° 


TJ//<:    WESTERN  ART  MOVEMENT. 


than  tliis,  he  intends  to  make  the  study  of  ap- 
pUed  art  a  department  coi'inhnate  with  the 
academic. 

Suc:h  are  the  present  conditions  of  art  in 
(Chicago,  but  these  conditions  will  soon 
change.  The  founding  of  the  Manual  '["rain- 
ing School,  the  great  bequest  for  the  New- 
])erry  Library,  and  the  establishment  of  the 
Armour  Memorial  are  signs  of  the  direction 


ton  is  building  a  public  art  gallery,  where 
paintings  already  collected  will  be  housed, 
and  where  loan  exhibitions  from  time  to  time 
will  tell  of  current  movements  in  the  world 
of  art.  Milwaukee's  private  galleries  contain 
some  paintings  which  Fvastern  collectors  un- 
willingly relinquished,  and  this  store  of  pic- 
torial art  should  profit  the  students  of  the 
Milwaukee   Art  School.    In    Minneapolis   a 


|f»_«ril^ 


f^'Psr^. 


^>: 


e,even 
repre- 
of  the 
active 
:ity  its 
{ a  for- 
cilities 
y  util- 
p-ccog- 
his  he 
gular- 
keep- 
em  to 
same 
duca- 
More 


CllICAliO    AUT    INSTITLTE. 


in  which  men's  minds  are  turning,  and  these 
examples  are  sure  to  inspire  others. 


IV. 


These  are  not  sporadic  instances  of  prac- 
tical interest  in  art.  The  same  thing  is  going 
on  in  other  cities  and  in  towns  throughout 
our  West.    In  Milwaukee  Mr.  Frederick  Lay- 


strong  movement  for  advanced  art  education, 
headed  by  a  local  Society  of  Fine  Arts,  has 
resulted  in  the  establishment  of  an  academic 
school  under  a  member  of  the  Society  of 
American  Artists.  Detroit,  if  Detroit  may  be 
included  in  the  West,  stands  ready  to  build 
an  art  museum, — success  reached  at  last  after 
three  years  of  persistent,  energetic  efforts. 
The    idea   was    suggested    by  the    interest 


THE    WESTERN  ART  MOVEMENT. 


59' 


I.AYTON    ART    OAIXHRY,     MILWAUKEE. 


shown  in  the  Detroit  Art  Loan  Exhibition  of 
1883. 

"  If  people  are  so  hungry  for  art  as  to  travel 
hundreds  of  miles  and  pay  fifty  thousand  dol- 
lars to  see  this  exhibition,  let  us  bring  art 
within  their  reach."  Such  was  the  thought  of 
those  who  watched  the  throng  of  visitors  from 
distant  country  towns,  some  of  whom  jjroba- 
bly  then  saw  their  first  oil-painting.  Yet  it 
was  said  that  there  were  more  incjuiries  for 
The  Century  collection  of  drawings  than  for 
the  paintings,  a  significant  hint  as  to  the  in- 
fluence of  what  may  be  termed  applied  art, 
a  hint  which  would  admit  of  amplification, 
were  it  permitted  here.  All  sorts  of  visitors 
there  were,  from  the  artist  to  that  venerable 
woman  who  eyed  The  Ceniurv  drawings 
suspiciously  through  her  glasses,  and  asked, 
"Are  all  them  pictures  a  hundred  years  old?" 
But  there  was  clearly  something  done  in  the 
way  of  education  as  well  as  in  satisfying  curi- 
osity. Then  came  the  Museum  of  Art  Asso- 
ciation incorporated  in  February,  1884.  For 
a  building  site  $40,000  was  raised  in  cash, 
and  after  many  delays  and  discouragements 
the  sum  of  $100,000  for  a  building  was  com- 
pleted at  midnight  of  March  20,  1886.  This, 
too,  in  a  city  which  beside  New  York,  the 
home  of  the  languishing  Grant  Monument 


Fund,  is  only  a  village.  But  such  persever- 
ance as  that  of  Mr.  W.  H.  Brearley,  to  whom 
the  credit  of  this  result  largely  belongs,  is  rare 
even  in  the  metropolis.  Building  and  site  are 
thus  provided  for,  and  Mr.  James  E.  Scripps 
has  pledged  $50,000  for  the  purchase  of  works 
of  art.  A  beginning  has  already  been  made 
with  "  old  masters,"  which  appear  to  be  fa- 
vored by  Mr.  Scripps,  and  with  a  few  other 
paintings,  among  them  Rembrandt  Peale's 
"Court  of  Death"  and  Mr.  F.  D.  Millet's 
"  Gilnone."  A  friend  of  the  museum  has 
pled^'  -^  $10,000  for  a  collection  of  casts,  and 
if  the  maintenance  of  the  museum  is  assured 
by  endowments,  its  future  is  certainly  full  of 
promise.  Already  tlie  eyes  of  the  faithful  see 
in  the  building  only  a  wing  of  a  museum  of 
vast  extent.  Let  us  hope  that  the  building, 
whatever  it  may  be,  will  not  be  given  over  en- 
tirely to  "  old  masters,"  but  will  contain  col- 
lections from  which  Detroit's  stove-molders, 
lithographers,  and  other  artisans  may  gain 
ideas  which  will  tell  in  the  (|uality  of  tiieir 
work.  All  this  can  be  done  at  small  expense, 
without  neglect  of  "  high  art,"  and  with  evi- 
dent profit  both  to  handicraftsmen  and  to  the 
pupils  of  the  future  art  school  whose  training 
may  be  utilized  in  these  crafts. 

In  Buftalo,  which  can  hardly  be  classed  as  a 


591 


592 


THE    WESTERN  ART  MOVEMENT 


Western  city,  the  Fine  Arts  Acadciiiy,  now  inotal-work  by  the  Niivajos  for  hundreds  of 

twenty-four  years  old,  is  about  to  transfer  its  years,  there  is  a  school  with  some  art-training 

collections  to  s|)acious  galleries  in  the  new  in(  iuded  in   its  curriculum.    And  as  for  the 

building  of  the  Muffalo  l-ibrary.    The    ("leve-  Pacific  slope,  its  metropolis  at  least  boasts  of 

land    Academy    of    Fine    Arts,    which    was  societies  of  artists,  exhibitions,  schools,  and 

brought    to  the    notice  of  many  by  a    little  collections,  although  San  I'Yancisco  is  without 

public  ation  tilled  with  sprightly  sketches  by  an  art  museum.    Perhaps  the  new   Stanford 


-     -      '      -  *'  r>  *#J, 


liOFFAI.O    MIIRARV    AND    ART    IllMLmNn. 


its  Students,  is  among  many  other  promis- 
ing beginnings.  From  those  who  are  direct- 
ing education  in  art  in  the  larger  Western 
cities,  one  hears  of  active  art  societies  up  and 
down  the  middle  West,  in  Indianapolis,  Spring- 
field. Jacksonville,  and  Omaha.  In  Cairo, 
Dickens's  "Eden," a  society  holds  forth  upon 
art  and  the  architecture  which  Martin  ("huz- 
/.lewit  may  have  seen  in  his  fevered  dreams. 
In  a  town  three  years  old,  beyond  the  Mis- 
souri, the  director  of  a  Western  museum  gave 
a  lecture  which  he  had  delivered  in  that  home 
of  sages,  Concord,  Massachusetts.  ''  I  could 
see  no  difference  in  the  way  my  lecture  was 
received,"  he  said  afterward.  "  My  audience 
appeared  to  be  as  intelligently  interested  and 
appreciative  as  my  audience  in  Concord." 
In  villages  of  1  )akoti  and  western  Nebraska 
this  missionary  of  art  found  not  only  eager 
but  discriminating  hearers.  And  so  this  un- 
dercurrent might  be  traced  across  the  con- 
tinent by  its  occasional  manifestations.  In 
the  far  South-west,  where  a  rude  art  has  been 
applied  to  pottery  by  the   Pueblos  and   to 


University  may  prove  to  be  the  center  of  art 
education  upon  the  Pacific  coast. 


V. 


Eastern  advantages  are  obvious  enough, 
and  yet  if  one  cares  to  follow  out  comparisons 
it  will  be  found  that  the  activity  represented 
in  the  building  uj)  of  Western  art  museums 
and  schools  during  the  last  six  years  has  had 
no  counterpart  in  the  East.*  AVhatever  grop- 
ings  in  the  dark  there  may  be  for  a  time,  this 

*  Tlicre  have  been  no  such  gifts  to  the  cause  of  art 
eilucation  in  the  Mast  as  in  the  West  (hiring  tliis  lime. 
There  lias  been  no  such  building  up  of  art  museums 
and  art  schools.  I'lven  the  museums  in  existence  in 
lioston  and  Xeiv  York  are  suffering  severely  for  hack 
of  sujiport,  and  not  an  art  school  in  New  ^'ork  is 
equipped  to  the  satisfaction  of  il.-i  friends.  On  the 
other  hand,  the  largest  ])rivate  and  public  collections 
are  in  tlie  East,  and  the  most  important  exhibitions  and 
sales  are  held  here,  or,  to  localize  the  term  further,  in 
\e\v  \'ork,  which  is  the  center  for  artists  and  art 
societies,  and  offers  the  best  picture  market.  Any 
detailed  exposition  of  the  East's  advantages  seems  to 
me  as  unnecessary  as  general  eulogy  of  the  arts  of 


THE  WESTERN  ART  AWVEMENT 


593 


Western  art  movement  has  gone  fiir  enuiigli 
to  insure  certain  definite  results.  'I'he  impor- 
tance of  art,  however  the  word  may  be  defined, 
has  been  pubUcly  recognized.  Art  collections 
of  various  kinds  are  placed  within  the  reach 
ofthepeo|)]e  at  large,  facilities  for  educa- 
tion in  art  have  become  accessible.  If  there 
were  nothing  more  than  this,  the  results  would 
represent  at  least  an  elevating  influence. 

But  this  movement  comes  at  a  time  when  we 
are  rapidly  accepting  the  ideas  that  training 
of  the  hand  should  accompany  training  of 
the  brain,  and  that  educated  application  of 
art  to  industry  is  a  valuable  economical  end. 
England,  Belgium,  Germany,  and  France 
later,  have  learned  the  lesson,  and  the  agents 
of  even  Russia  are  studying  the  museums  and 
schools  of  applied  art  which  are  in  every 
Cierman  city.  In  the  fifteen  years  since  Mas- 
sachusetts took  the  hint  from  South  Kensing- 
ton and  made  drawing  a  part  of  her  common- 
school  curriculum,  these  ideas  have  taken 
shape  in  one  way  or  another,  West  as  well  as 
East.  All  this  has  met  with  opposition,  of 
course,  as  the  Boston  artists  ridiculed  the 
adoption  of  South  Kensington  theories  and 
practices.  Yet  Massachusetts  is  now  build- 
ing an  ampler  home  for  her  State  Normal 
Art  School,  and  her  publicists  in  speeches  and 
reports  are  demanding  more  popular  educa- 
ticjn  in  ait  that  the  State  may  not  lose  her 
supremacy  in  the  finer  industries.    The  same 


demand  is  felt  and  has  been  answered  in  a 
greater  or  less  degree  in  many  of  our  cities, 
it  is  this  demand  baseil  upon  the  practical 
value  of  art-training  in  industrial  work  which 
will  broaden  the  usefulness  of  the  Western 
art  museums  and  schools. 

Butthere  is  something  more  than  the  familiar 
argument  of  money  value,  the  dwelling  upon 
the  differences  in  the  compensation  of  clay- 
shoveler,  brick-maker,  tile-maker,  potter,  and 
sculptor.  It  is  not  merely  on  account  of  higher 
wages  that  this  training  is  so  necessary,  but  to 
awaken  in  our  people  a  love  of  art  if  only  in 
its  simplest  forms,  an  appreciation  of  beauty 
of  line  or  color  though  it  may  exist  in  the 
humblest  article  in  daily  use.  With  this  love 
of  beauty  aroused  by  familiarity  with  the  work 
of  our  artist  artisans,  we  may  hope  for  the 
growth  of  that  National  Art  which,  as  William 
Morris  rightly  said,  must,  if  it  deserves  its 
name,  take  its  roots  among  the  people.  The 
collecting  of  paintings  and  the  making  of 
Artists  (with  a  capital  A)  have  been  our  first 
consideration.  Now  we  are  beginning  at  the 
beginning,  and  something  is  being  done  to 
make  art  tell  in  the  daily  lives  of  the  people 
about  us.  The  task  of  the  West  is  to  help  in 
substituting  a  vital  principle  for  the  idea  of  art 
as  something  "  appealing  only  to  the  connois- 
seur, unintelligible  to  the  masses,  who  pass 
before  it  as  though  it  were  some  splendid  iilol 
weird  and  dumb." 

Ripley  Jlitchcock. 


painting  ami  sculpture.  But  the  expenditure  of  for-  to  be  noted  in  the  West,  l)ut  not  in  the  Mast.  At 
tunes  for  jiaintinj^s  wliich  go  to  private  galleries  is  present  the  East  seems  content  with  its  earlier  achieve- 
not  so  hcaltiiful  a  sign  of  interest  in  art  as  the  un-  ments,  but  this  apathy  can  hardly  be  expected  to 
selfish  activity  in  behalf  of  art  education  which  is  now  last. 


I* 
1^ 


593 


From  Thk  Qvmv\}\i.s /or  Novembtr,  iSHd. 


THE  NEED  OF  TRADE  SCHOOLS. 


DITCATION  is  in  a  tran- 
sition state.  Systems  that 
have  come  ilown  to  us 
from  past  ages  are  found 
i  ica|)ai)le  of  meeting  the 
wants  of  the  latter  ])art 
of  the  nineteenth  century. 
Especially  is  this  tiie  case 
in  the  way  in  which  the  young  are  taught  how 
to  work.  Silently  the  old  plan  has  passed  away, 
and  as  yet  no  definite  scheme  has  taken  its 
place.  Xeitherinthiscountrynorin  Europe  can 
the  apprenticeship  system  be  said  to  exist.  It 
became  the  custom  in  the  middle  ages  to  bind 
a  lad  who  wished  to  learn  a  trade  by  a  writ- 
ten agreement  to  some  master  mechanic,  for  a 
specified  number  of  years.  In  consideration 
of  the  lad's  labor,  the  master  was  to  care  for 
him  and  teach  him  a  handicraft,  'i'his  custom 
continued  until  modern  times.  During  the 
reign  of  Queen  Elizabeth  a  law  was  passed 
forbidding  any  person  to  work  at  a  trade  with- 
out having  first  served  an  apprenticeship  of 
seven  years.  Although  this  law  was  denounced 
by  Adam  Smith  as  terding  to  form  labor  mo- 
nopolies, and  the  courts  had  tlecided  it  did  not 
apply  to  any  trade  not  practiced  at  the  time 
of  its  enactment,  it  was  not  repealed  until  the 
year  1814.  The  English  and  American  appren- 
tice laws  still  provide  for  indenturing  a  lad  to 
a  master  mechanic,  but  such  indentures  are 
seldom  made  except  by  the  overseers  of  the 
poor  for  pauper  lads.  An  indenture  between 
a  master  plumber  of  New  York  and  three  of 
his  "  helpers  "  was  recently  published  in  trade 
journals  as  a  curiosity.  The  old  apprentice- 
ship system  perished,  not  because  the  inden- 
ture was  looked  upon  as  a  species  of  slavery, 
nor  because  its  results  were  unsatisfactory.  It 
perished  because  the  conditions  of  society  un- 
der which  it  was  possible  no  longer  exist.  The 
apprentice  in  former  times  lived  with  his  mas- 
ter, sat  at  his  table,  and  worked  under  his  eye. 
For  his  conduct  during  his  term  of  service 
and  his  skill  when  he  became  a  journeyman, 
his  master  was  responsible.  The  modern  ap- 
prentice is  merely  a  hired  boy,  who,  while 
making  himself  useful  about  a  workshop,  learns 
what  he  can  by  observation  and  practice.  If 
he  sees  the  interior  of  his  master's  house,  it  is 
to  do  some  work  in  no  way  connected  with 
his  trade,  and  which  may  not  increase  the  idea 
of  the  dignity  of  labor  in  the  minds  of  such  of 
his  associates  as  are  employed  in  stores  or 
offices.    In  old  times  skill  more  than  caj)ital 


made  the  journeyman  into  a  master.  The 
master  worked  with  his  men.  Tiie  more  aj)- 
prentices  he  could  employ  tiud  the  more 
thoroughly  he  could  teach  them,  the  greater 
his  profit.  The  act  of  Elizai)cth  was  intended 
to  secure  the  lad's  labor  to  the  employer,  not 
to  be  a  law,  as  it  afterwards  became,  to  limit 
the numberof  workers.  The  master  now  rarely 
works  at  his  trade.  His  time  is  more  profita- 
bly spent  in  seeking  for  customers,  purchasing 
material,  or  managing  his  finances.  The  work- 
shop is  put  in  charge  of  a  foreman  whose 
reputation  and  wages  depend  on  the  amount 
of  satisfactory  work  that  can  be  produced  at 
the  least  cost.  'J'he  foreman  has  no  time  to 
teach  lads,  and  as  there  is  but  little  profit  in 
their  untrained  labor,  does  not  usually  want 
them,  '{"here  still  survives  from  the  old  ap- 
prentice system  of  former  days  the  idea  that 
a  lad  employed  in  a  workshop  shall,  when  he 
becomes  a  man,  be  a  skilled  workman  and 
capable  of  earning  a  journeyman's  wages. 
This  theory  fixes  a  certain  amount  of  respon- 
sibility upon  an  employer,  which  he  is  not 
always  willing  to  incur.  Business  may  increase 
or  diminish.  At  one  time  many  workmen  may 
be  wanted;  at  other  times  few  or  none,  If 
lads  are  employed  with  the  understanding 
that  at  the  expiration  of  a  certain  time  they 
are  to  be  converted  into  skilled  workmen, 
there  may  be  times  during  the  customary  four 
years  of  service  when  there  will  be  nothing 
for  them  to  do.  If  retained  they  will  be  a  bur- 
den on  the  employer ;  if  discharged  the  lad 
will  not  unreasonably  feel  that  an  agreement 
has  been  broken.  It  is  not,  however,  with  the 
employer  that  all  the  difficulty  of  learning 
how  to  work  is  to  be  found.  The  different 
trades  are  organized  into  trades-unions,  and 
one  of  the  accepted  theories  of  the  unions  is 
the  advantage  to  be  derived  from  limiting  the 
number  of  workers.  Instead  of  the  fact  that 
work  makes  work,  that  one  busy  class  gives 
employment  to  other  classes,  it  is  assumed 
that  there  is  a  certain  amount  of  work 
to  be  done,  and  the  fewer  there  are  to  do 
it  the  higher  wages  will  be.  It  is,  therefore, 
sought  to  make  each  trade  into  a  monopoly, 
and  although  these  eftbrts  have  been  uniform- 
ly unsuccessful,  they  have  marred  the  lives  of 
thousands  of  young  men,  and  still  continue  to 
do  so.  Such  monopolies  are  not  possible,  be- 
cause foreign  mechanics,  attracted  by  wages 
several  times  greater  than  they  could  earn  at 
home,  with  living  but  little,  if  any,  dearer,  can- 


84 


THE  NEED   OF  TRADE   SCHOOLS. 


not  be  prevented  from  crossing  the  ocean  to 
lietter  their  condition  in  hfe;  neither  can 
mechanics  be  prevented  from  coming  to  the 
cities  from  country  towns,  and  as  the  strength 
of  a  union  depends  upon  the  enrollment  of 
nearly  all  the  workmen  in  the  trade  the  union 
represents,  these  mechanics  are  not  only  in- 
vited to  join,  but  pressure  is  used  to  force  them 
to  do  so.  Thus,  as  the  exclusive  policy  of  the 
unions  is  powerless  against  the  stranger,  its 
force  is  directed  against  city-born  young  men. 
This  term  is  used  because  in  country  towns 
there  are  no  unions,  and  consecjuently  no  op- 
position is  made  to  a  lad's  'earning  a  trade, 
if  he  can  find  some  master  workman  who 
is  willing  to  employ  him.  In  the  country, 
however,  the  standard  of  workmanship  is  not 
so  high  us  it  is  in  cities,  and  country  mechan- 
ics cannot  usually  comj^ete  on  even  terms  with 
city  workmen.  Under  union  rules  the  em- 
jjloyer  is  usually  allowed  from  two  to  four 
lads,  the  term  of  service  being  from  four  to 
five  years.  This  does  not  allow  an  employer 
to  graduate  under  the  most  favorable  circum- 
stances more  than  one  skilled  workman  each 
year.  As  there  are  not  many  employers  even 
in  the  largest  cities  in  any  one  trade,  and,  as 
already  stated,  some  do  not  want  young  men, 
it  becomes  a  matter  of  no  small  difficulty  to 
learn  how  to  work.  So  it  often  happens  that 
although  a  lad  may  be  willing  to  work  and 
may  have  strong  predilections  for  certain 
kinds  of  work,  he  is  more  likely  to  meet  with 
rebuft"  than  encouragement.  His  first  lesson 
in  life  teaches  him  that  he  has  been  born  into 
a  world  where  there  is  nothing  for  him  to  do. 
This  lesson  as  he  grows  older  he  will  unlearn. 
He  will  discover  he  was  standing  in  a  busy 
market-place,  importuning  the  crowds  to  buy 
when  lie  had  nothing  to  sell.  He  was  willing 
to  do  anything ;  there  was  nothing  he  knew 
how  to  do. 

The  old  apprentice  system  is  not  likely  to 
be  revived.  The  life  of  the  system  was  the 
personal  supervision  of  the  master,  which  the 
lad  cannot  have  again.  It  may  be  for  the  in- 
terest of  the  master  mechanic  to  train  good 
workmen,  but  it  is  not  his  duty.  The  attempt 
to  teach  any  large  numlicr  of  lads  would  be 
troublesome,  even  if  permission  could  be  ob- 
tained from  the  unions.  The  workmen  of  the 
future  must  learn  how  to  work  before  they 
seek  emi)loyment.  All  professional  men  do 
this.  What  scientific  schools  are  to  the  en- 
gineer and  architect,  what  the  law  school  and 
the  medical  college  are  to  the  lawyer  and  the 
physician,  or  what  the  Ijusiness  college  is  to 
the  clerk,  the  trade  school  must  be  to  the 
future  mechanic. 

Manual  instruction  in  schools  especially 
designed  for  the  purpose  is  not  a  new  thing. 


Its  rapid  development  in  modern  times  is  due 
less  to  the  decay  of  the  apprenticeship  sys- 
tem than  to  the  discovery  that  without  such 
instruction  the  trades  themselves  were  deteri- 
orating. Transmitting  a  handicraft  from  man 
to  boy  carries  with  it  wrong  as  well  as  right 
ideas.  The  practice  of  a  trade  may  be  taught ; 
the  theory  on  which  that  practice  is  based 
may  be  forgotten.  The  tendency  of  all  shops 
is  to  subdivide  work.  A  boy  learns  how  to 
do  one  thing,  and  is  kept  at  it.  He  has  no 
chance  to  learn  his  trade.  Trade  schools  first 
came  to  be  regarded  as  important  to  the  wel- 
fare of  the  state  on  the  continent  of  Europe 
about  the  middle  of  the  last  century.  In 
England,  as  in  this  country,  they  are  of  more 
recent  origin.  The  report  of  the  Royal  Com- 
missioners on  Technical  Instruction,  London, 
1884,  shows  not  only  the  extent  of  technical 
instruction  in  European  countries,  but  the 
value  that  is  placed  upon  it  by  the  people. 
This  report  gives  descriptions  of  schools  for 
the  building  trades,  for  weaving  in  wool  and 
silk,  for  iron-work,  furniture,  clock  and  watch 
making,  ])Ottery,  for  the  making  of  beer  and 
sugar,  indeed  for  almost  every  industry  in 
which  men  and  women  are  engaged.  Many 
of  these  European  schools,  both  those  for 
general  instruction  in  the  mechanic  arts  and 
for  special  trades,  are  on  a  magnificent  scale. 
At  the  Imperial  Technical  School  at  Moscow 
the  annual  expenses  are  $140,000  per  annum. 
The  Technical  School  at  Verviers,  in  Belgium, 
chiefly  a  school  for  weaving  and  dyeing,  was 
built  at  a  co.st  of  $100,000,  the  annual  ex- 
penses being  upwards  of  $13,000.  The 
Chamber  of  Commerce  of  Crefeld,  in  Prussia, 
a  town  of  83,000  inhabitants,  having  reported 
that  the  silk  industry  was  languishing  because 
of  the  superiority  of  the  French  training- 
schools,  an  establishment  costing  $210,000 
was  begun,  to  which  the  state  contributed 
$137,000  and  the  municipality  $60,000,  the 
remainder  being  raised  by  subscription.  This 
town  exports  upwards  of  twenty  millions  of 
dollars  of  silk  j^roducts,  nearly  all  of  which 
goes  to  England  and  the  United  States.  At 
Chemnitz,  in  Saxony,  now  the  rival  of  Not- 
tingham in  the  hosiery  business,  and  also  the 
center  of  an  iron  industry,  is  a  technical  school 
which  costs  $400,000.  The  report  referred  to 
says  there  is  not  a  manufacturer  in  Chemnitz 
whose  son,  assistant,  or  foreman  his  not  at- 
tended this  school.  At  Hartman's  locomotive 
works  in  the  same  town,  employing  nearly 
three  thousand  men,  all  the  boys  between 
fourteen  and  sixteen  years  of  age  are  obliged 
to  attend  the  technical  school.  To  allow  suf- 
ficient time  to  do  so,  their  hours  of  labor  ter- 
minate at  four  o'clock  in  the  afternoon  twice 
each  week. 


THE  NEED   OF  TRADE   SCHOOLS. 


times  is  due 
iceship  sys- 
ithout  sucli 
vere  deteri- 
t  from  man 
-11  as  right 
be  taught; 
e  is  based 
Jf  all  shops 
ns  how  to 
He  has  no 
chools  first 
to  the  wel- 
of  Europe 
ntury.    In 
"e  of  more 
>yal  Com- 
,  London, 
technical 
.  but  the 
e  people, 
-hools  for 
rtool  and 
nd  watch 
beer  and 
^ustry  in 
1.    Many 
hose   for 
arts  and 
nt  scale. 
Moscow 
annum, 
^elgium, 
ing,  was 
lual  ex- 
3.     The 
Prussia, 
eported 
because 
raining- 

!I0,000 

ributed 
'oo,  the 
1.  'J'his 
ions  of 
which 
es.    At 
f  Not- 
Iso  the 
school 
•red  to 
-'mnitz 
lot  at- 
notive 
nearly 
tween 
Jliged 
IV  suf- 
»r  ter- 
twicc 


8S 


IN    THE    STONE-CUTTING    KOOM. 


At  Arco,  in  the  Austrian  Tyrol,  the  found- 
ing of  a  small  school  with  one  teacher  to 
give  instruction  in  the  manufacture  of  those 
articles  in  olive-wood  which  find  so  ready  a 
sale  to  travelers,  developed  an  important  in- 
dustry, orders  being  now  filled  from  all  parts 
of  Northern  Italy  and  from  America.  The 
city  of  Paris  maintains  a  school  on  the  Boule- 
vard de  la  Villette  for  workers  in  wood  and 
iron.  Full  wages  are  obtained,  it  is  claimed, 
by  the  graduates  from  this  school.  A  similar 
school  is  maintained  in  Paris  by  the  Roman 
Catholic  Church,  with  the  idea  of  combating 
the  irreligious  sentiments  of  Parisian  workmen. 
Besides  tlie  technical  schools  in  various  parts 
of  France,  free  evening  lectures  are  given  in 
the  large  towns  on  scientific  subjects  connected 
Vol.  XXXIII.— 12. 


with  the  trades.  In  Sweden,  according  to  a 
report  made  by  Professor  Ordway  to  the 
Massachusetts  State  Board  of  Education, 
there  are  about  three  hundred  schools  where 
manual  instruction  in  the  use  of  tools  for 
wood  and  iron  work  is  given.  As  a  curiosity 
of  technical  education,  it  may  be  mentioned 
that  in  Ireland  the  Royal  Agncultural  Society 
maintains  amodel  perambulating  dairy,  which, 
mounted  on  wheels,  is  drawn  from  village  to 
village,  the  inhabitants  being  invited  to  wit- 
ness the  most  approved  methods  of  making 
butter  and  managing  a  dairy.  In  England 
the  subject  of  technical  education  is  now  at- 
tracting much  attention.  A  very  fine  school 
for  apprentices  has  recently  been  completed 
by  the  city  and  guilds  of  London,  and  these 


86 


THE  NEED   OF  TRADE  SCHOOLS. 


guilds  also  encourage  technical  education  by 
subsidies  to  schools  in  different  parts  of  the 
kingdom. 

Some  idea  of  the  need  of  instruction  in 
the  mechanic  arts  in  the  United  States  was 
probably  present  in  the  minds  of  the  Senators 
and  Representatives  when  the  Land  Grant 
Act  of  1862  was  passed.  A  clause  in  this  act 
reads  as  follows ;  "  The  leading  object  shall 
be,  without  excluding  scientific  and  classical 


TEACHER    AND    PUPIL. 


studies,  and  including  military  tactics,  to  teach 
such  branches  of  learning  as  are  related  to 
agriculture  and  the  mechanic  arts  in  such 
manner  as  the  States  may  respectively  pre- 
scribe, in  order  to  promote  the  liberal  and 
practical  education  of  the  industrial  classes  in 
the  several  pursuits  and  professions  of  life." 
The  report  of  the  Secretary  of  the  Interior, 
on  Industrial  Education,  1882,  gives  a  list  of 
forty-two  difterent  schools  and  colleges  in 
various  parts  of  the  union  which  owe  their 
existence  to  this  land  grant.  Most  of  these 
are  agricultural  and  engineering  colleges.  The 
words  in  the  act  in  regard  to  teaching  such 
branches  of  learning  as  are  related  to  the 
mechanic  arts  being  usually  inter])reted  to 
mean  instruction  in  the  use  of  carpenter's  and 
machinist's  tools.  Of  these  land  grant  schools, 
the  best  known  are  the  Massachusetts  Insti- 
tute of  Technology  in  Boston  and  the  Hamp- 
ton Institute  at  Hampton,  Virginia.  Each  of 
these  illustrates  an  interesting  experiment  in 
industrial  education.  The  Massachusetts  In- 
stitute of  Technology  might  properly  be 
called  a  school  for  foremen,  as  its  grad- 
uates  can   be   found   superintending   indus- 


trial   establishments    all    over    the    United 
States.   The  pupil  in  weaving,  for  instance,  is 
required  to  design  or  copy  a  pattern,  and  then 
work   it   out  on  the  loom.     In  molding  he 
makes  a  drawing,  models  the  wooden  pattern 
from  it,  and  casts  the  pattern  in  the  metal. 
The  course   of  instruction    is   four  years, — 
mathematics,  chemistry,  history,  and  the  mod- 
ern languages  forming  a  part  of  the  educa- 
tional scheme.  Hampton  Institute  was  founded 
by  General   S.  C.    Armstrong    as  a   normal 
school  for  colored   teachers.    General  Arm- 
strong, while  serving  as  a  staff-ofticer  at  Fort 
Monroe,   during   the    war,    was   brought  in 
contact  with  the  fugitive   slaves   who   took 
refuge  at  the  fort.    When  slavery  was  abol- 
ished, and  four  millions  of  men,  women,  and 
children  became  the   wards  of   the   nation, 
General  Armstrong  conceived  the  idea  that 
they  could  best  be  educated  and  civilized  by  the 
aid  of  their  own  people.    It  was  as  necessary 
to  teach  this  vast  multitude  who  had  never 
been  beyond  the  sound  of  a  master's  voice 
how  to  work  for  themselves,  and  how  to  care 
for  themselves,  as  it  was  to   teach  them  to 
read  andwrite.   Manual  instruction  was  there- 
fore  a  necessity  at  the  Hampton  Institute. 
The  male  graduates  were  to  be  leaders  on  the 
farm  or  in  the  workshop  as  well  as  teachers. 
The;  female  graduates  were  to  be  capable  of 
cooking,  sewing,  or  caring  for  the  sick.  How 
thoroughly  and  successfully  this  scheme  has 
been  carried  out   need  not  be  stated  here. 
Another  type  of  the  industrial  school  is  to  be 
found  in  the  Worcester  (Mass.)  Free  Institute. 
At  this  institution  three  and  a  half  years  of  gen- 
eral education  is  combined  with  instruction  in 
mechanical  engineering,  in  carpentering,  and 
in  machinist's  work.    This  school  more  nearly 
approaches  the  trade  school,  as  many  of  its 
graduates  are  returned  as  "journeymen  me- 
chanics." The  Worcester  school  was  founded 
by   private  liberality.     Without   such  aid,  it 
may  be  added,  neither  the  Massachusetts  In- 
stitute of  Technology  nor  Hampton  Institute 
could  have  reached  its  i)rescnt  usefulness.    In 
the  European  technical   schools  provision  is 
made  for  instructing    young  men  already  in 
the  trades  by  a  course  specially  adapted  to 
thei*:  wants.    In  this  country  this  important 
branch  of  industrial   ed'uation  has  received 
but  little  attention.  The  Carriage  Makers'  As- 
sociation in  this  city  maintain  a  school  in  de- 
signing and  construction  for  the  young  men 
in  their  trade.    The  Master  Plumbers  of  Phil- 
adel[)hia,  Baltimore,  and  Chicago  have  i)lumb- 
ing  schools  for  their  "  helpers."   The  Cambria 
Iron  Works  in  Pennsylvania,  and  several  pri- 
vate  firms   like   R.  Hoe  &  Co.  of  this  city, 
give  scientific  instruction  to  their  lads,  while 
two  railroad  companies,  the  Pennsylvania  and 


THE  NEED    OF  TRADE   SCHOOLS. 


87 


the  Baltimore  and  Ohio,  have  shown  not  only 
what  it  is  possible  to  do,  but  how  much  can 
be  done  at  a  trifling  cost  for  the  young  men 
in  the  employ  of  great  corporations.  Beyond 
this  short  list,  little  has  been  done  to  supple- 
ment shop-work  with  systematic  instruction. 
In  the  Baltimore  and  Ohio  R.  R.  Company's 
shops  at  Baltimore  five  hundred  young  men 
are  employed.  They  are  placed  in  charge  of 
a  graduate  of  the  Stevens  Institute  whose  duty 
it  is  to  see  that  they  are  not  employed  too 
long  at  one  kind  of  work.  He  can  change 
their  work  as  often  as  it  may  seem  desirable 
for  their  future  interests.  He  can  also  take 
parties  of  them  from  their  work  at  any  time 
to  explain  to  them  the  machinery  they  may 
be  engaged  upon  or  may  see  around  them. 
A  neat  building  has  been  erected  for  their  use, 
which  contains  a  library  and  class-rooms  for 
instruction  in  mechanics  and  drawing.  The 
lads  are  required  to  wear  a  uniform,  which, 
besides  giving  them  a  jaunty  appearance, 
tends  to  habits  of  personal  neatness.  What  is 
done  by  the  Baltimore  and  Ohio  R.  R.  Co. 
could  be  done  in  any  manufacturing  town 
by  the  union  of  a  few  large  employers. 

The  difference  between  manual  instruction 
and  trade  instruction  is  not  always  clear  in 
the  public  mind.  By  manual  instruction  is 
meant  teaching  a  lad  how  to  handle  certain 


ever  having  held  a  tool  in  his  hands.  Man- 
ual training-schools  are  meant  to  make  a  lad 
handy ;  trade  schools  to  make  him  proficient 
in  some  one  art  by  which  he  can  earn  a  liv- 
ing. Manual  instruction  has  already  been  in- 
corporated in  the  public  school  systems  of 
Boston  and  Philadelphia.  The  New  York 
Board  of  Education  has  maintained  for  sev- 
eral years  a  workshop  at  the  Free  College. 
It  now  proposes  to  open  schools  all  over  the 
city  where  boys  and  girls  will  be  taught  to 
use  their  hands.  A  great  impression  was  made 
last  spring  by  the  exhibition,  held  by  the 
Industrial  Education  Association  of  New 
York,  of  children's  handiwork,  and  of  the 
different  methods  of  teaching  them  how  to 
work.  Not  only  was  it  shown  what  varied 
and  excellent  work  little  fingers  could  do, 
but  school-teachers  and  superintendents  came 
to  testify  that  the  brain-work  was  benefited 
by  the  hand-work. 

Admitting  that  trade  education  is  practica- 
ble and  that  it  is  advisable  both  for  the  pur- 
pose of  giving  young  men  an  opportunity  to 
learn  how  to  work  and  to  keep  the  trades 
from  deteriorating,,  it  may  be  well  to  consider 
how  such  education  can  best  be  adapted  to 
the  wants  of  the  American  people. 

In  most  of  the  foreign  trade  schools  the 
technical  instruction  is  combined  with  a  gen- 


WOOD-CARVING. 


tools,  usually  carpenter's  and  blacksmith's 
tools,  for  the  purpose  of  developing  his  hands 
and  arms,  precisely  as  other  lessons  are  given  to 
develop  his  observation  or  his  memory.  This  is 
not  teaching  a  trade,  although  it  would  render 
the  work  of  the  trade  school  much  easier.  A 
lad  who  lias  gone  through  a  course  of  manual 
instruction  at  a  school  would  be  more  likely  to 
be  a  better  mechanic  than  one  who  had  reached 
seventeen  or  eighteen  years  of  age  without 


eral  education,  the  course  extending  over  sev- 
eral years.  This  system  is  also  followed  at 
the  Hampton  Institute,  at  the  Indian  school 
at  Carlisle  Barracks,  at  the  Worcester  Free 
Institute,  and  at  the  reformatories  and  asylums 
in  this  country  where  trades  are  taught.  Ex- 
cept in  special  cases  there  seems  no  need 
of  combining  instruction  in  the  trades  with 
a  general  education.  It  is  duplicating  the 
work  of  the  puLic  schools  and  adding  greatly 


88 


THE  NEED   OF  TRADE  SCHOOLS. 


FUASIERING. 


to  the  cost  of  industrial  education.  A  lad  can 
hardly  be  taught  and  boarded,  even  at  a  school 
or  college  which  is  liberally  endowed,  for  less 
than  two  hundred  and  fifty  dollars  per  annum. 
For  a  four-years'  course  this  would  be  a  thou- 
sand dollars,  and  to  this  sum  must  be  added 
the  cost  of  clothing,  traveling  expenses,  etc. 
Such  schools  would  be  beyond  the  reach  of 
those  who  are  likely  to  lay  brick,  cut  stone, 
or  work  at  any  of  the  mechanic  arts.  A  sim- 
pler, shorter,  more  economical  course  of  in- 
struction is  wanted  for  the  future  media.. ic. 
It  must  be  remembered  that  although  the 
law  Inquires  the  parent  to  support  the  child, 
it  is  an  established  custom  that  after  a  certain 
age  the  child  shall  in  some  way  contribute  to 
the  family  support.  No  system  of  trade  in- 
struction will  be  successful  that  does  not  recog- 
nize this  fact.  From  eighteen  to  twenty  years 
would  seem  to  be  the  best  age  to  enter  a  trade 
school.    The  lad  is  then  old  enough  to  know 


what  sort  of  work  he  likes  and  for  what  his 
strength  is  adapted.  As  regards  the  amount 
of  instruction  given,  it  would  be  wisest  not  to 
attempt  to  graduate  first-class  journeymen. 
That  it  is  possible  to  do  so  in  many  trades 
there  need  be  no  doubt,  bui  it  would  appear 
to  be  better  to  ground  a  young  man  thor- 
oughly in  the  science  and  practice  of  the 
trade  he  has  chosen,  and  leave  the  speed  and 
experience  that  comes  from  long  practice  to  be 
acquired  at  real  work  after  leaving  the  school. 
Such  a  system  would  be  more  economical,  as 
by  it  the  cost  of  teaching  and  the  waste 
of  material  would  be  greatly  lessened.  This 
probation  course,  as  the  time  spent  between 
leaving  the  trade  school  and  becoming  a 
skilled  workman  might  be  called,  need  not  be 
long.  Six  months  will  suffice  in  most  trades. 
Young  men  who  begin  work  in  this  way 
are  likely  to  get  on  better  with  their  fellow- 
workmen  than  if  taught  entirely  at  a  school, 


THE  NEED   OF  TRADE  SCHOOLS. 


BUILDING    TIERS    IN    THE    BRICKLAYING    ROOM. 


and  they  will  understand  better  how  to  ac- 
commodate themselves  to  different  situations. 
Trade  schools  should  not  be  free.  They  will 
be  best  appreciated  when  an  entrance  fee  is 
required.  Lawyers,  physicians,  engineers,  ar- 
chitects, and  clerks  are  expected  to  pay  for 
their  instruction,  and  there  is  no  need  to  treat 
mechanics  as  objects  of  charity;  neither  do 
they  desire  it. 

At  the  Hampton  and  Worcester  schools 
the  work  of  the  pupil  yields  a  revenue.  At 
Hampton,  contrary  to  the  usual  experience,  a 
student's  labor  has  been  found  <^o  be  of  suffi- 
cient value  to  pay  for  his  board  and  tuition. 
When  the  course  of  instruction  at  a  trade 
school  is  short,  it  is  best  not  to  seek  for  any 
return  from  the  pupil's  work.  The  same  temp- 
tation, otherwise,  will  exist  as  in  the  shop,  of 
putting  a  lad  at  what  he  can  do  best  instead 
of  teaching  him  what  he  knows  least  about. 
The  pupil's  future  is  of  more   consequence 


than  the  material  that  may  be  wasted.  In  a 
well-organized  trade  school  the  waste  is  not 
a  serious  item,  as  the  same  material  can  be 
used  many  times. 

In  the  belief  that  the  most  practical  system 
was  a  combination  of  the  trade  school  and 
the  shop,  of  grounding  young  men  thoroughly 
in  the  science  and  practice  of  a  trade  at  the 
school,  and  leaving  them  to  acquire  speed  of 
workmanship  and  experience  at  real  work  after 
their  course  of  instruction  wds  finished,  the 
New  York  Trade  Schools  on  First  Avenue, 
between  Sixty-seventh  and  Sixty-eighth  streets, 
from  which  the  accompanying  engravings  were 
made,  were  opened  in  the  autumn  of  1881. 
The  schools  were  designed  to  aid  those  who 
were  in  the  trades  by  affording  them  facilities 
to  become  skilled  workmen  not  possible  in  the 
average  workshop,  and  to  enable  young  men 
not  in  the  trades  to  make  their  labor  of  suffi- 
cient value  to  secure  work  and  to  become 


90 

the  schooJs  •"  The  inttS""'  ^'"^-'-ving 
Jhree  evenings  each  week  fo°,;;  v''  ^'"^"  °" 
t'l  Apr,-].    Skilled  mrchani-        ^^^'"^^'■""- 
as  teachers.    How  mnrh  .V       ""f^^  employed 
to  teach  during  thltStedV'""^^  ^'  P«««'ble 
neither  were  there  a.y^fns?.'^^^  ""^o«n, 
effect  the  instruction  rerp1?i'''''^"^'"^^hat 
would  have  on  the  vounfm   '^.  ^*  ^'^^  ^^^oo^^ 

Instruction  was  gi^  the  fi    f  '"'^'^^^  '"'^  ^'f^- 
fe'ven  the  first  season  in  two 


Jrt  nerinrl  oA-„-i.._    • 


,..i.».=j«.,,j  ■ , 


A    PRESCO-PAINTER. 


trades,  plumbing  and  fr«o  •    . 

.charge  for  instruction  t.Z^^''''^^'     The 
'nduce  attendance    Twen'  ^"^^  "^'"'"^J  to 
the  plumbing  class'  abS?  ^°?-^  "^^"  J°'ned 
-ere in  the  tr.^l'^ZiZT^'i^r' 'l}'''^' 
thirteen  jo med  the  fresco  cSss     ofe''   ^"^ 
"Cr  one-th  rd  drooneH  r.ffi     •'    ^^  ^^^^  num- 
The  schools  hal?'^      ^  "^"""^^  the  winter 
season.    The  attendTnle'ff -^^^^  ^^^^  fi^h 
thirty-three  the  firsfseason  ^  '^^^^^^^d  from 
^nd  four  the  fifth  season    Th  '^u^  ^""^^^d 
been  increased  to  a  su^'    ^,h.^^¥'-ges  have 

willuItimatelymeettheevT/^''l"  ^^  ^^oped 
Instruction  is^^owgl^nT^^^^^ 
pamting,  bricklaying    ston/i?'"^'  ^''-"^^O" 
n^g,  carpentry,  w^d^'carv'nrand"^'  ^i'^-^^^- 
A  class  m  pattern-mitfnl  ^'     ,     gas-fitting. 
J^-k  of  support      Thos?;'?'  abandoned  it 
schools  from  wcrksh  r     ^"^^.^^jne   to   the 
Ployers  and  r'^"  surprised  their  em- 

quired  skill.  ■  :  ;;'  ^,,,.^  .  "  ^  "■  "^i^ddenly  ac- 
have  usual;  •.  :  ;  .  ,v  •  ';,V°  ''^'■"  ^  trade 
at  the  schools  >}  i,/  ,,  \"  ;  ;  '""'^  '-^  a  record 
to  use  the  express- ,  -i' \  "'-'f '^'ass,  who, 
them,  owe  their  success  in  Iffi''^  " ,  •"  ''"^  of 
the  schools.     Serious  d,ffi,?'-"'"^'j°'""^ 

encountered  in  ZiL^':;o"rfo?ar  ^^  '^ 

b  wurh.  on  account  of 


trades-union  rule*;  h.if  *u 

not  been  found  to  be  |"  ^"'^  difficulties  have 

A.S  the  tin'^^  spenr^t  r""f''''^^- 

he  instruction  i\s  [ iVcVl     "^  '^'^"^^'^  '«  short, 

^-^■h  pupil  is  re^i^red  to  r'""^^'^'^°"^«e: 

gmning  and  is   a dvam/r?       ^''"  '''^  ^^'^  he- 

proficiency  will  a!l^?"  ^    ,"^  '"fP^^y  as  his 

^rekeptasmuchaspo;sibl  n?'.^'  '''"  ""^^''^^ 
no  one  is  allowed  to  leave  H  ^'^^f  "^work, 
can  do  it  well     IWr  ^  '^''"''^  "ntil  he 

A  skilled  workma,rr     "  "^^'^^•^''^rily  rai.id 
«';ow  how  the  fo  k    Juld  r'{  ""  ^'^"^'  'o 
plain  why  one  method?.       f  ''''"^  ^"^^  ^'^- 
;vrong.     Attention  1  io  if''  '"^'  '-^""^her 
''Id  stands  and  how  h.  ?  ^^''V  ^'^^  way  a 
awkward  habit  onci  c2rff  ?•'  *°°^'^-   An 
overcome.    On  t«  n  n^      ^  ^''^^''  '"  "ot  easily 
yade  to  the  scl^ool's  Z^T '^^'''  --' 
The  work  was  done  7t  r, ''"'^.'^^'''^'"g  ^'^ss. 
regular  course  of  ins'inr  f  **-^™"^ation  of  the 
beingpaidinpropor  on,n  ?"'  '^"^  ^^""g  "^en 

'-f  '^''"^P^acti  e  Sou  d^""r'^^T"^^^ 
value  that  the  evenfnr  ^  ^^'"'"'"^^ 
bricklayers  is  now  Jn^^  "^struction  for  the 
day  H Jk.  SSt rfof^'  '^  ^"  ^^  -- '«' 
a  large  apartment-houL  i  f''^  '''''''  ^nd 
entirely  done  by  trade  sd  o  ^  ^'""  ^'^''"'^^t 
Better  or  more  conTc  e„Hn         ^'°""S  "^en. 

be  difficult  to  find    1  ,Tsen!'  ''""^  "  "'^^'^ 
old  enough  to  d^  a  ft  1?^?"^"^^"  "'^^  are 

get  from  one-thi?d  to  one  ha?f    7'^  "^"'''% 
on  leaving  the  schools  andf.n''  ''''^'.  ^^'^^es 
SIX  to  eighteen  mon  hs  '1  "  '"T'  '"  ^""^ 
seems  to  be  proved  dnt  i"^'""  '""'''•    ^^h"«  ''t 
arranged  instruction  onM-?"''"       "''"^""y 
week  for  a  term  of  not  a  .1    •'"'""'"S^  ^^^^ 
't  m  the  power  of  am  ZtT  "^°"^'^M^uts 
how  to  work.    He  no  Inn     ^  "''''"  ^"  'earn 
employer  to  teach  him     nlZ  ""'f-  ^'^  '^' 
bor  market  with  somShinfto  S,^'  '"  ''''  '-- 

^vant.    Many  well-meim      i      ""'^  "''^at  they 
because  this  poh  t  ^.s  ol    f "?''  ^'''^'  ^^''ed 
course  would'  be  ,e  [^r    inSl'''"    ^  ^«"ger 
nien  lengthen  their  term  of  '    '"'  '°'"^  >'«""§ 
boring  two  seasons  bu   to  J"'''"'^'°"  ^y  'a 
the  best,  even  a  siLle  .     "'''"^' '''"  '  ^^en  to 
on   their  strength'  *TT '1,^  ^^^'-^^^  tax 
present  living,  ad  tha,    7,''  ''' "  "^^y  ^^  a 
work  duringTheevei  ■  Vtof^'"  "^''''  '^^^^ 
necessary  to  obtain  a  Ivl        "',"''"'  ^'^e  skill 
^|"'res  no  small  amoumo>  '"  '^'  ^"^"^^'  oe- 
dema!. Work  in  the^h^  '■"^''gy  and  self- 
V^ork  at  the  scht  ft 'r^r''?'-^  o'clock, 
than   seven.    Thi^^e,";"',  ^"""^^r  '^^^S'"   'ater 
ood,  for  rest,  and  fo   tn  vel     Th  °"''  ""'>'  ^^^ 
at  the  N^,v  York  Tr 'de  «" ,     ^^  ^^""ff  nien 
all  parts  of  New  York  frcn^  ^°'"i  f"'""  ^''^"^ 
^orK,trc,i  Brooklyn,  Hobo- 


fficulties  have 
itahle. 

lools  is  short, 
:ribecl  course, 
n  at  the  be- 
ipidly  as  his 

1  the  classes 
e  same  work, 
ork  until  he 
>sarily  rapid. 

on  hantl  to 
311  e  and  ex- 
ind  another 
o  the  way  a 
s  tools.    An 
is  not  easily 
ditions  were 
laying  class, 
ation  of  the 
young  men 
ber  of  bricks 
of  so  much 
on  for  the 
■  two  weeks' 

2  stores  and 
)een  almost 
3ung  men. 
k  it  would 
en  ^\  ho  are 
>rk  usually 
ly's  wages 
:es  in  from 

•   Thus  it 

carefully 
jings  each 
nths,  puts 

to  learn 

beg  the 

n  the  la- 

|the  New 
be  im- 
|ose  who 
lat  they 
■c  failed 
longer 
young 
by  la- 
'ften  to 
;vy  tax 
for  a 
|in  and 
le  skill 
ire.  re- 
self- 
clock. 
later 
for 
men 
from 
obo- 


\h 


THE  NEED   OF  TRADE  SCHOOLS. 


9> 


ken,  and  Jersey  City.  Some  have  come  from 
Staten  Island,  Newark,  and  Orange.  Between 
two  and  three  hundred  young  men  thus  as- 
sembled to  learn  how  to  work,  and  who  have 
paid  their  hard-earned  money  for  the  privilege, 
may  almost  be  said  to  form  an  impressive 
sight.  These  young  men  are  employed  in 
offices  and  stores,  in  mills  and  workshops,  and 
at  the  various  occupations  for  which  boy  labor 
is  needed,  but  which  have  no  future  for  the 
man.  During  the  five  winters  the  schools 
have  been  open,  no  rude  or  profane  word  has 
been  heard  within  their  walls.  The  young 
men-  are  attentive  to  their  instructors,  and 
altliough  often  inconveniently  crowled,  are 
courteous  to  each  other.  Costly  tools  are 
scattered  about,  but  they  are  cared  for  as  if 
they  belonged  to  those  who  use  them.  If 
they  are  fair  specimens  of  a  class  which  com- 
prises fully  two-thirds  of  the  young  men  of 
this  city.  New  York  lias  reason  to  be  proud  of 
her  sons. 

It  is  often  said  that  American  ])arents  are 
not  desirous  of  having  their  children  learn 
trades.  The  mothers,  perhaps,  may  be  re- 
sponsible for  this  idea.  The  present  custom 
of  requiring  a  lad  to  work  for  four  or  five 
years  before  becoming  a  journeyman  neces- 
sitates his  beginning  at  an  early  age.    Plac- 


ing boys  during  ten  hours  a  day  with  men  of 
whose  antecedents  nothing  is  known  is  un- 
doubtedly objectionable.  Although  less  evil 
comes  from  it  than  is  usually  supposed,  still 
injury  may  be  done  which  a  careful  parent 
would  guard  against.  A  trade  school  not  only 
avoids  any  danger  of  this  kind,  but  it  gives 
the  parent  an  opportunity  to  ascertain  for 
what  sort  of  work  the  boy  is  suited.  As  it  is 
now,  the  lad  may  work  for  several  years  at 
a  trade  and  then  find  he  has  no  taste  for  it. 
New  places  are  not  easily  found ;  to  change 
his  trade  may  be  impossible.  He  becomes  a 
poor  workman  without  interest  or  heart  in  his 
work.  Six  months  at  a  trade  school  would  be 
time  well  spent  if  it  only  taught  the  lad  for 
what  work  he  is  fitted. 

Could  the  opposition  of  the  trades-unions 
to  young  men  learning  trades  be  overcome, 
a  great  source  of  wealth  would  be  opened  to 
those  now  approaching  manhood.  This  op- 
position comes  almost  entirely  from  foreign- 
born  workmen.  The  effect  of  their  jiolicy  is  a 
matter  of  indifterence  to  them.  Unlike  the 
American,  the  foreigner  cares  but  little  for 
the  future.  He  looks  only  to  the  number  of 
dollars  it  is  possible  to  extract  for  a  day's 
work.  He  willingly  surrenders  his  liberty  and 
hisjudgment  to  his  union  officers.   To  keep  their 


u 


ni 


9a 


^^£  NEED   OF  Tp^nv 


not  only  Relieve  InlheT^'"'''^''''  '^^ey 

derived  from  limit  L,"  '^^^-^"^^-^ges  to  be 

ers,  but  they  fea  "hi  ir'"'^"'""^^^"'-^^- 

allo^vecl  to  u  ork  tL   ,?    /  "'^">'  ^^^s  are 

of  his  a,;pre,X' :     ""'^^oy^r,  >vith  the  aid 

'Pi.s  feai^n  ';  o;„u,r'''^'^^f ''  ^  strike 
'-he benefitof trade mn''  ''        '^'''°''>' ^^ 

-  'y  by  skilled  ;;^rk  fen  ^'  ''Z'  ^""'«'"'- 
chanics  put  but  a  sn  nU  ,  ^  '"^^^'-'r  me- 
,f  ?"  tile  ChiJgr^^^^ii^^nJ-y  labor, 
fhejr  effort  tn  n.u      ^^^^ster  Plumbers    in 

-tmaknsS'S':,t^:'r'p-/'do 

Journeymen  Stone-cuttersMr.  "''':  '^'^^ 
only  union  mNcwYoTl^T'  ''  ^he 
2,»y  interest  in  tl  ^.Xe  of  ' '^''■^'^°^^" 
Tile  Journeymen  PWk     ?^,r""fir  nien. 

passed  a  resolution  iS'if  ^"'°"  ^^^^'y 

^y  the  Master  Plumbe'".  \'^''^9"'esced  in  -  -^-  . ":. 

prevent  threeoutofe  Sf   ''"r'?^'°"'  ^^i"      "°""  "'""=• 
"owlSkiiL      "  V^t'oKa.   rlkr^l'}'   <'°'™  from  re- 

a  'egal  manner    r^"'  '^  ^■''^"  ^^e  obta  ned  in    .'"'".'  ^^  ^'^^  middle  Les  T  ""^'^^  ^^e  me- 

ions,  ivieh  S,f  ?.^"'."'°*n>en.   ItsS^'   Senerally  „ell   educateH    x\  ''''•  1""*.  and 

obtained  by  fator  i  T  "^''^^  of  proFectfon^  •  '^'  "^"^  ^vvo  hundred  dLF-''l''''''  '^  ^e 
chance  and  no  favoVP^'-^'^^^se.  "Anenual  T'''''  ^^^^^  *«  thatrecZj'f^'y'^''^^ 
the  American  mfn?    If  ^  ""^  'die  words Tn    l     "f ^"^    dollars    invested  "  *^"^"ty 


^^•^/^a/-./  T.  Auc/muty. 


"vj^   ^.^ 


•7  vrSST'P' 


From  The  Ckntury/?/-  October,  1886. 


HAND-CRAFT    AND    RKDE-CRAFT. 


A    l'M.A    FOR    THK    I'IKST    NAMKD. 


?:■■ 


r  than  our 
el  the  me- 
[ire  of  the 
rt  collec- 
its  work- 
all  over 
5ly.  1  o 
admi- 
ick,  and 
d  not 
he  de- 
lat  are 
a  few 
vvledge 
if  he 
-ar,  an 
wenty 
nment 
iy  the 
own 


'fy. 


CALLS  for  more  handicraft  have  been  heard 
of  late  in  many  portions  of  this  land, — 
sometimes  a  tall  for  higher  skill  in  the  use 
of  fingers  and  arms, —  and  sometimes  a  call 
for  the  wilier  spread  of  such  skill  among  the 
people  at  large.  Just  now  we  wish  to  speak 
of  some  of  the  general  aspects  of  a  move- 
ment which  is  very  complex  as  well  as  gen- 
eral, and  at  the  same  time  is  full  of  promise 
and  hope. 

We  begin  by  using  the  word  handicraft,  for 
that  is  the  form  to  which  we  are  wonted  in 
speech  and  in  print ;  but  we  rather  like  the 
old  form,  "  hantl-craft,"  which  was  used  by 
our  sires  so  long  ago  as  Anglo-Saxon  days. 
Neither  form  is  in  vogue,  as  we  know  very 
well,  for  })eople  choose  nowadays  such  Latin 
words  as  technical  ability,  industrial  pursuits, 
manual  labor,  dexterity,  ])rofessional  artisan- 
ship,  manufacture,  technological  occupation, 
polytechnic  education,  and  decorative  art,  not 
one  of  which  is  half  so  good  as  the  plain,  old, 
strong  term,  handicraft  or  hand-craft.  We  shall 
do  what  we  can  to  bring  back  this  old  friend. 

One  reason  why  we  like  this  word  is  that 
it  includes  so  much,  and  yet  is  so  clear  that 
everybody  knows  what  it  means, —  the  power 
of  the  hand  to  hold,  shape,  match,  carve, 
paint,  bake,  plow,  or  weave.  Another  rea- 
son why  we  like  to  say  hand-craft  is  because 
of  the  easy  contrast  it  suggests  with  another 
old  word,  which  is  likewise  out  of  vogue, 
rede-craft,  the  power  to  read,  to  reason,  and 
to  think, —  or  as  it  is  said  in  the  book  of 
common  prayer,  "  to  read,  mark,  learn,  and 
inwardly  digest."  By  rede-craft  we  find  out 
what  other  men  have  written  down  ;  we  get 
our  book-learning ;  we  are  made  lieirs  to 
thoughts  that  breathe  and  words  that  burn  ; 
we  enter  into  the  acts,  the  arts,  the  loves,  the 
lore,  the  lives  of  the  witty,  the  cunning,  and  the 
worthy  of  all  ages  and  all  places. 

Rede-craft  is  not  the  foe  but  the  friend  of 
hand-craft.  They  are  brothers,  partners,  con- 
sorts, who  should  work  together  as  right  hand 
and  left  Iiand,  as  science  and  art,  as  theory  and 
practice.  Rede-craft  may  call  for  books,  and 
hand-craft  for  tools,  but  it  is  by  the  help  of 
both  books  and  tools  that  mankind  moves  on. 
Their  union  is  as  sacred  as  the  marriage  tie ; 
no  divorce  can  be  allowed.  The  i)leasure  and 
the  profit  of  modern  life  de[)end  upon  the 
endurance  of  their  joint  action. 
Vol..  XXXII.— 109 


Indeed,  we  should  not  err  wide  of  the 
mark  by  saying  that  a  book  is  a  tool,  for  it  is 
the  instrument  we  make  use  of  in  certain  cases 
wlien  we  wish  to  find  out  what  other  men 
have  thought  and  done.  There  is  a  sense  in 
which  it  is  also  true  that  a  tool  is  a  book,  the 
record  of  past  ages  of  talent  engaged  in  toil. 
Take  a  plow,  for  example.  Compare  the 
form  in  use  t(j-day  on  a  first-rate  farm  with 
that  which  is  pictured  on  ancient  stones  long 
hid  in  Egypt,  ages  old.  See  how  the  plow 
idea  has  grown;  and  bear  in  mind  that  its 
graceful  curves,  its  fitness  for  a  si)ecial  soil  or 
for  a  special  crop,  its lal)or-saving  shape,  came 
not  by  chance  but  by  thought.  It  embodies 
the  experience  of  many  generations  of  i)low- 
men. 

Look  upon  a  Collins  ax,  lay  it  by  the 
side  of  such  a  tomahawk  as  was  used  by 
Uncas  or  Miantonomoh,  or  with  a  hatchet 
of  the  age  of  bronze,  and  think  how  many 
minds  have  worked  upon  the  head  and  the 
helve ;  how  much  skill  lias  been  spent  in  get- 
ting the  metal,  in  making  it  hartl,  in  sljaping 
the  edge,  in  fixing  the  weight,  in  forming  the 
handle.  Take  a  cambric  needle  and  compare 
it  with  the  fisli  bone  or  the  thorn  with  which 
savages  sewed  their  hides.  Or  from  simple 
turn  to  complex  tools — the  steam-engine,  the 
sewing-machine,  the  dynamo,  the  telegraph, 
the  ocean  steamer ;  all  are  full  of  ideas.  All 
are  the  offspring  of  hand-craft  and  rede-crafl, 
of  skill  and  thought,  of  practice  put  on  rec- 
ord, of  science  and  art.  The  welfare  of  our 
land,  of  our  race,  rests  on  this  union.  We  can 
almost  take  the  measure  of  a  man's  brain  if 
we  can  find  out  vhat  he  sees  and  what  lie 
does ;  we  can  judge  of  a  country  or  of  a  city 
if  we  know  what  it  makes. 

We  need  not  ask  which  is  the  better,  hand- 
craft or  rede-craft.  Certainly,  '•  the  eye  cannot 
say  to  the  hand,  I  have  no  neetl  of  thee  " ;  at 
times,  indeed,  when  the  eye  is  blind,  the  hand 
takes  its  place,  and  the  fingers  learn  to  read, 
running  over  the  printed  page  to  find  out  what 
is  there  as  tjuickly  as  the  eye.  To  what  realms 
of  thought  was  Laura  Bridgman,  sightless 
and  speechless,  led  by  the  culture  of  her  touch  I 

It  is  wrong  that  so  many  people,  some 
whose  minds  are  full  of  ideas  and  some  whose 
purses  are  full  of  gold  (not  to  speak  of  those 
who  have  neither),  are  prone  to  look  down 
upon  hand-craft.    They  think  only  of  the  tasks 


ii 


8.3.S 

';-c;t:;sAs;S1rr^''-^-'-y-  They 

-"-*^"-  and    ,,l.';;:^7,    f  '!"f' -  lY  the 
ht-'ar,  sec,  own,  ,jr  cat  uln^T    '         '">'  ''''^'  '" 

I'rodu.iion.    T  ci      3^  "'  "^'  {''^■^'■^"'"o  of 
thn-r   fir.K.rs   a      ,       "'M"''>'  ''^'  '^ngln,  hut 


'"rom  his  path      Jf  ,\:  u.    1 

^^'-''•Po,  to  hca  -.tif     a.^,' ";  ■'•"'^^'  ^''^-  IHnvcT  ,0 

'•'^;'^"rc  and  (ii^n  ty   «    ,1 ''''''v"'''^'^  ^^^'^'^ 

"^'i"-  'trains  are  the  nns  cX    i      '^■^"^^  ■''J">-t; 
'."  other  chmc^a    1 1     ?u  "''■"  '^'"'*'«- 


P«-ngov.T,l,.,,,,,,.,,r„,,  '••       "'  llKir  ;•■)■-■»■    taU..-  ,hat     o  Tom"  ,    "  °""' ■■>'"'  »"  i"i  1 

smmmmmmm 

msmsgm 
mwmmmm 

pon  '  '•  .,  V  '    """  >■""  'Jo  for  your  own  J'  '    ^^^^ '"««  tamous  .shrh'e   or'  ^/''''""'"^-  ^"  °"^of 
hind  ;,   ?.'  f-'^^'"^  "machinery  works  .     ■         ^'''^'^P'  ^  shc^t  Id  «  ^^^'^^^^^^'^ or  ,)rophet.s. J 

wmmmmmms 

^anient,  a  ]),ece  of  jewelry, 


I 


lie  power  to 
wliich  gives 
V  true  ;irtist 
yc)nc  spirit; 
i-;ii'  IkiikIs. 
iiiifs,  hand- 
vithiis.  'Ihe 
Hi  so  ininii- 
rican,  s(  an- 
gallcrics  of 
L'nt  of  the 
ni  the  other 
Lord  KIgiii 
troke  could 
as  truly  as 
Ruskin,  in 
to  morals, 
le  on  some 
was  this  : 
It  to. Allien 
his  hand." 
with  other 
ipeilesand 
Irawing  a 
I'here  is  a 
seholds  of 
I  a  trade. 
',  and  the 
ago,  as  a 
n  engrav- 
id  by  an- 
Inoneof 
in  Paris, 
Is,  not  of 
iphets. — 

a  saint. 

ostle  of 

ce.  Is  it 
of  gold- 
iveeping 

nor  the 

die  an 

of  the 

1,  adtis 

s,  that 

e  work 

le  shall 
K'  tan 
poor 
ts  and 
to  the 
[re  so 
need 
Inuch 
Images 
juite, 
his 
ir,  a 
se,  a 

-Iry, 


JfAND-CRAFT  AND   RK DE-CRAFT. 


«39 


a  portrait,  an  etching.  Now,  in  making  such 
a  purchase  to  please  the  eye,  to  make  the 
chamber,  the  ])arl()r,  or  the  offue  more  at- 
tractive, choose  always  that  which  shows 
good  handiwork.     .Su(  h  a  choice    will    last. 


ho|)e  that  .Aniericanswill  learn  from  thejapan- 
ese  how  to  form  and  finish,  before  the  JajKin- 
ese  learn  from  us  how  to  slight  and  sham. 

'I  here  is  another  duty  to  be  enforced,  whit  h 
is  this.    All  who  have  to  deal  with  the  young. 


Vou  will  not  tire  of  it  as  you  will  of  common-  whether  ])arents  or  teachers,  should  see  to  tt 

place  forms  and  patterns,  and  your  children  that  children  acquire  hand-craft  while  they  are 

after  you  will  value  it  as  much  as  you  do.  getting  rede-craft.    Mothers  begin  right  in  the 

!,et  us  not  forget,  however,  that  hand-craft  nursery,  teaching  little  fingers  to  play  before 

gives  us  many  things  which  do  not  apjieal  to  the  tongue  can  lisp  a  scnteiii  e.    .Alas,  this  nat- 

our  sense  of  beauty,  but  which  are  neverthe-  ural  training  has  too  often  been  stopped  at 

less  of  priceless  value, —  a  Jaccjuard  loom,  a  school.    iJooks  have  claimed  the  right  of  way  ; 

Corliss  engine,  a  Hoe  jirinting-press,  a  Win-  rede-craft  has  taken  the  |)lace  of  honor;  hand- 

chester  ritle,  an   Kdison  dynamo,  a  JJell  tele-  craft  has  been  kejit  in  the  rcir.    Hut  now  the 

|)h(jne.    Ruskin  may  scout  the  work  of  ma-  ghost  of  Pestalozzi  has  been  raised;  the  spirit 

chinery,    and    up    to    a  certain  point  in    his  of  Froebel  is  walking  abroad  in    the    land; 

entlnisiasm  for  hand-craft  may  carry  us  with  changes  are  coming  in  schools  of  every  grade, 

him.    Let    us   say    without   a    cjuestion    that  The  changes  began  at  the  top  of  our  educa- 

works  of  art  —  the  "  Oates  of  Paradise,"  by  tional  system  and  are  fast  working  down  to 

(ihiberti,    a   shield    by  Cellini,    a    statue  by  the  bottom.    What  mean  the  new  buildings 

Michael  Angelo,  a  portrait  by  Titian  —  are  which  have  apjieared  of  late  years  in  all  our 

better  than  any  reproductions  or  imitations,  thriving  colleges  ?   They  are  libraries  and  lab- 

eIectrotyi)es  by  Barbedienne.  jilaster  casts  by  oratories, —  the  temples  of  rede-craft,  and  of 

luchler,    or   chromos    by    Prang.    Hut    even  hand-craft;  they  tell  us  that  in  universities, 

Ruskin  cannot  su])press  the  fiictthat  machin-  the  highest  of  all  schools,  work-rooms,  labor- 

ery  brings  to  every  cottage  of  our  day  com-  places,   laboratories,   are    thought   to  be   as 

forts  and  adornments  which  in  the  days  of  l)ook-rooins,    reading-rooms,    libraries  ;    they 

Queen  ]3ess,  or  even  of  Queen  Anne,  were  show  that  a  liberal  education  means  skill  in 

not  known  outside  of  the  jjalace, —  and  per-  getting  and  in  using  knowledge  ;  that  wisdom 

haps  not  there;  and  let  us  be  mindful  that  it  comes  from  searching  books   and  searching 

is  modern  hand-craft  which  has  made  the  ma-  nature  ;  that  in  the  fniest  human  natures  the 

chines  of  such  wonderful  productivity,  weav-  brain  and  the  hand  are  in  close  leagu^.    So 

ing  tissues  more  delicate  than  Penelope  ever  too  in  the  lowest  schools,  as  far  as  possible 

embroidered,  and  cutting  the  hardest  metals  from  the  university,  the  kindergarten  methods 

witii  a  jjrecision  unknown  to  Vulcan's  forge,  have  won  their  place,  and  the  blocks,  straws, 

Machinery  is  a  trium])h  of  hand-craft  as  truly  and  bands,  the  chalk,  clay,  and  scissors,  are  in 

as   sculpture    or    architei:ture.     The    fingers  use  to  make  young  fingers  deft, 
which  have  shajiedthe  Auraiiia  or  the  Hrook-        Intermediate  schools  have  not  yet  done  so 

lyn   suspension  bridge  are  as  full    of  art  as  well.   There  has  even  been  danger  that  one 

those  which  have  cut  an  obelisk  from  granite  of  the  most  needful  forms  of  hand-craft  would 

or   molded    the   uplifted    torch    of    Liberty,  become  a  lost  art,  even  good  handwriting,  and 

Rowland's  dividing  engine,    which   with   its  schools  have  l)een  known  to  send  out  boys 

unerring   diamond   plow   traces   forty  thou-  skilled  in  algebra  and  in  a  knowledge  of  the 

sand  furrows  upon  an  inch  of  the  concave  aorist  who  could  not  write  a  page  of  English 

grating,  silently  and  ceaselessly  at  work  from  so  that  other  peojile  could  read  it  without  ef- 

day  to  day,    that  men  may  see  more  than  fort.   The  art  of  drawing  is  anotiier  kind  of 

they    ever  have  yet  seen  of  the    glories  of  hand-craft  which  has   been  cjuite  too  much 

the  sun — a  machine  like  this  has  beauty  of  neglected  in  ordinary  schools.    It  ought  to  be 

its  own ;  not   that  of  the  human  form    nor  laid  down  as  a  rule  of  the  road  to  knowledge 

that  of  a  running  brook,  but  the  beauty  of  that  everybody  must  learn  to  draw  as  well  as 

perfect  adaptation  to  a  purpose,  secured  by  to  write.    'I'he  pencil  is  a  simpler  tool  than  the 

consummate  hand-craft.   The   fingers  which  pen.  The  child  draws  jiictures  on  his  slate  be- 

can  make  a  mountain  stream  turn  myriads  fore  he  learns  the  pot-hooks  of  his  copybook; 

of  spindles,  or  transform  rag  heaps  into  ])er-  savages  begin    their  language  with  gestures 

turned  paper,  or  evoke  thousands  of  handy  and  pictures  ;  l)ut  we  wiseacres  of  the  school- 

oi)jects  from  brass  and  iron,  are  fingers  which  boards   let   our  youngsters   drop  their  slate- 

the    nineteenth    century    lias   evolved.     The  pencils  and  their  Fabers  when  we  make  them 

hand-craft    which    has    made    useful    things  practice  with  their  Gillotts  and  their  Kster- 

chea])  is  already  making  cheap  things  beauti-  brooks.    We  ought  to  say,  in  every  school  and 

ful.    See  how  rapidly,  for  exam[)le,  pottery  in  in  every  house,  the  child  must  learn  to  draw  as 

this  country  has  become  a  fine  art.    Let  us  well  as  to  read  and  write.    It  is  the  beginning 


840 


JrAND-CRAJT  AXn   NF.DE-CRAJ'T. 


of  hand-craft,  the  hand-craft  which  undt-rlics  ;i 
host  of  inodL-rn  <  allings.  A  new  French  book 
has  lately  altrat  ted  much  attention,  "  The  I  ,ife 
of  a  Wise  Man  l)y  an  Ignoramus, "  It  is  the 
story  of  the  great  I'asteur,  whose  discoveries 
in  respect  to  germ  life  liave  made  him  world- 
famous.  If  you  turn  to  this  Ixjok  to  find  out 
the  key  to  such  success,  you  will  see  the  same 
old  story, —  the  child  is  fatherof  the  man.  This 
great  physiologist,  whose  eye  is  so  keen  and 
whose  hand  is  so  artful,  is  the  boy  grown  up, 
whose  pictures  were  so  good  when  he  was 
thirteen  years  ohl  that  the  villagers  thought 
him  an  artist  of  rank. 

Sewing,  as  well  as  drawing  and  writing,  has 
been  neglected  in  our  ordinary  schools,  (iirls 
should  certainly  learn  the  second  lessons  of 
hand-craft  with  the  needle.  Moys  may  well 
do  so  ;  but  girls  must.  The  wise  governor  of 
a  New  England  State  did  not  hesitate,  a  short 
time  since,  to  say  upon  a  commencement 
platform  how  mui  h  he  had  often  valued  the 
use  of  the  needle,  whicii  was  taught  him  in 
his  infant  school.  How  many  a  traveler  can 
tell  a  like  tale?  It  is  wise  that  our  schools 
are  going  back  to  old-fashioned  ways,  and 
saying  that  girls  must  learn  to  sew. 

Boys  should  practice  their  hands  upon  tne 
knife.  John  Hull  used  to  laugh  at  Brother 
Jonathan  for  whittling,  and  "  Punch  "  always: 
drew  the  Yankee  with  a  blade  in  his  fingers; 
but  they  found  out  long  ago  over  the  waters, 
that  whittling  in  this  land  led  to  something, — 
a  Boston  "  notion,"  a  wooden  clock,  a  yacht 
Aincrica^  a  labor-saving  machine,  a  cargo  of 
wooden  ware,  a  shop  full  of  knick-knacks,  an 
age  of  inventions.  Boys  need  not  be  ke|)t 
back  to  the  hand-craft  of  the  knife.  For  in- 
doors there  are  the  type-case  and  the  jjrinting- 
press,  the  paint-I)Ox,  the  tool-box,  the  lathe  ; 
and  for  outdoors,  the  trowel,  the  spade,  the 
grafting-knife.  It  matters  not  how  many  of 
the  minor  arts  the  youth  accjuires;  the  more 
the  merrier.  Let  each  one  gain  the  most  he 
can  in  all  such  ways,  for  arts  like  these  bring 
no  harm  in  their  train;  (juite  otherwise,  they 
lure  good  fortune  to  their  conijiany. 

Play,  as  well  as  work,  may  bring  out  hand- 
craft. The  gun,  the  bat,  the  rein,  the  rod,  the 
oar,  all  manly  sports  are  good  training  for  the 
hand.  Walking  insures  fresh  air,  but  it  does 
not  train  the  body  or  mind  like  games  and 
sports  which  are  played  out-of-doors.  A  man 
of  great  fame  as  an  explorer  and  as  a  student 
of  nature  (he  who  discovered  in  the  A\'est 
bones  of  horses  with  two,  three,  and  four 
toes,  and  found  the  remains  of  birds  with 
teeth)  has  said  that  his  success  was  largely 
due  to  the  sports  of  his  youth.  His  boyish 
love  of  fishing  gave  him  his  manly  skill  in 
exploration. 


I  speak  as  if  hand-craft  was  to  be  learned 
by  sport.  So  it  may.  It  may  also  be  learned 
by  labor.  Day  by  day,  for  weeks,  the  writer 
has  been  watching  from  his  study  window  a 
stately  inn  rise  from  the  cellar  just  ac  ross  the 
road.  ;\  bricklayer  has  been  there  employed 
whose  touch  is  like  the  stroke  of  an  artist.  He 
handled  each  brick  as  if  it  were  porcelain, 
balanced  it  carefully  in  his  hand,  measured 
with  his  eye  just  the  amount  of  mortar  which 
it  needed,  and  dro|)ped  the  block  into  its 
bed  without  straining  its  edge,  without  vary- 
ing from  the  plumb  line,  by  a  stroke  of  hand- 
craft as  true  as  the  sculptor's.  Toil  ga\e  him 
skill. 

The  last  point  which  we  make  is  this:  In- 
strut  tion  in  hand-craft  must  be  more  varied 
and  more  widespread.  This  is  no  new  thought. 
Forty  years  ago  schools  of  applied  science 
were  added  to  Harvard  and  Vale  colleges; 
twenty  years  ago  Congress  gave  land-scri])  to 
aid  in  founding  at  least  one  such  school  in 
every  State ;  men  of  wealth  have  given  large 
sums  for  such  ends.  Now  the  jK-ople  at  large 
are  waking  u]).  They  see  their  needs  ;  they 
have  the  money  to  supply  their  wants.  Have 
they  the  will  ?    Know  they  the  way  ? 

Far  and  near  the  cry  is  heard  for  a  difterent 
training  from  that  now  given  in  the  ])ublic 
schools.  Nobody  seems  to  know  just  what  is 
best;  but  almost  every  large  town  has  its  ex- 
periment, and  many  smaller  places  have  theirs. 
The  State  of  Massachusetts  has  passed  a  law 
favoring  the  new  movement.  A  society  of 
benevolent  women  has  been  formed  in  New 
York  to  collect  theexperienceof  many  places, 
and  make  it  generally  known.  The  trustees 
of  the  Slater  Fund  for  the  training  of  freed- 
men  have  made  it  a  first  principle  in  their 
work  that  every  school  which  is  aided  by  that 
fund  shall  give  manual  training.  The  town 
of  Toledo,  in  Ohio,  opened  some  time  ago  a 
school  of  practice  for  boys  which  has  done  so 
much  good  that  another  has  lately  been 
opened  for  girls.  St.  Louis  is  doing  famously. 
Philadelphia  has  several  experiments  in  l)rog- 
ress.  Baltimore  has  made  a  start.  In  New 
York  there  are  many  noteworthy  movements 
—  half  a  dozen  of  them,  at  least,  full  of  life 
and  hope.  Boston  was  never  behindhand  in 
the  work  of  promoting  knowledge,  and  in  the 
new  education  is  very  alert,  the  liberality  and 
the  sagacity  of  one  beneficent  lady  deserving 
praise  of  high  degree.  These  are  but  signs  of 
the  times,  examples  to  which  our  attention 
has  been  called,  types  of  etiforts,  multiform 
and  numerous,  in  every  part  of  the  United 
States. 

But  it  must  be  said  that  the  wise  differ  very 
much  as  to  what  might,  should,  and  can  be 
done.    Even   the   words  which   express   the 


U)  lie  lc;iriu(l 
io  l)c  Iciiriud 
s,  the  writer 
ily  window  a 
St  across  the 
re  employed 
n  artist.  He 
re  jiorcelaiii, 
d,  measured 
lortar  which 
[)ck  into  its 
ithoiit  viiry- 
ikc  of hand- 
)il  gave  him 

is  this:  In- 
more  varied 
lew  thought, 
lied  science 
le  colleges; 
ind-scri])  to 
h  school  in 
given  large 
J)Ie  at  large 
eeds  ;  thev 
mts.  Have 
ly? 

■  a  diftlrent 
the  jjublic 
ust  what  is 
has  its  ex- 
^ave  theirs, 
s.sed  a  law 
society  of 
in  Kew 
iny  places, 
e  trustees 
of  freed - 
e  in  their 
by  that 
e  town 
liie  ngo  a 
done  so 
ely   been 
amously. 
in  prog- 
'n   New 
)vements 
of  life 
hand  in 
d  in  the 
dity  and 
eserving 
signs  of 
ttention 
ultiforni 
United 


JfAND-CRAFT  AND   KEDRCRAFr. 


841 


rh 


wants  are  vapue.  Something  may  be  done 
by  an  attempt,  even  though  it  l)e  rude,  to  put 
in  classes  the  various  movements  which  tend 
toward  the  advancement  of  hand-craft.  Let 
us  make  an  attempt,  and  present  tiie  following 
schedule : 

FOR    THK    I'KOMOriON    Ol'    IIANIJ-CRAFT. 

Four  jye/i/iiinary  Needs, 

(a)  Kindergarten  work  shouM  be  taiujht  in 
the  nurseries  and  infant  schools  of  11  li  and 
poor ; 

(b)  Every  girl  should  learn  to  sew,  and 
every  boy  should  learn  to  use  domestic  tools, 
the  carpenter's  or  the  gardener's,  or  both ; 

(c)  \VelI-i)lanned  exercises  fitted  to  strength- 
en arms,  fingers,  wrists,  lungs,  etc.,  should  be 
devised,  and  where  possible,  driving,  riding, 
swimming,  rowing,  playing  ball,  and  other 
out-of-door  sports  should  be  encouraged; 

(d)  Drawing  should  be  taught  as  early  as 
writing,  and  as  long  as  reading,  for  all,  and 
everywhere. 

SUBSEQUENT     POSSIBILITIES. 

(a)  In  elementary  schools  lessons  may 
be  given  in  the  minor  decorative  arts, —  such 
as  those  of  the  Leland  methods,  for  example. 

(b)  The  use  of  such  common  tools  as  be- 
long to  the  blacksmith's  forge  and  the  carpen- 
ter's bei  ch  may  be  taught  at  slight  cost,  as  a 
regular  class  exercise,  in  secondary  schools  for 
boys,  whatever  be  the  future  vocation  of  the 
pupils. 

(c)  In  towns,  boys  who  begin  to  earn  a 
living  when  they  enter  their  teens  may  be 
taught  in  every  school  to  practice  brick-laying. 


|)lastering,  jilumbing,  gasfitting.  carpentry, 
etc.,  as  IS  done  and  well  done  in  the  Auch- 
muty  schools  in  New  York.  Trade  schools 
they  are  called ;  "  schools  of  practice  for 
workmen  "  would  be  a  clearer  name. 

(d)  In  high  schools, technical  schools, and 
colleges,  youth  may  learn  to  work  with  extreme 
precision  in  wood  and  metal,  as  they  are  taught 
in  the  College  of  the  City  of  New  York,  in 
Cornell  University,  and  in  many  other  places. 

(f)  Youth  who  will  take  time  to  fit  them- 
selves to  be  foremen  and  leaders  in  machine 
shops  and  factories  may  be  trained  in  theoret- 
ical and  practical  mechanics,  as  at  Worcester, 
Hoboken,  J3oston,  and  elsewhere;  but  the 
youth  who  would  win  in  these  hard  paths 
must  have  talent  at  command  as  well  as  time 
to  spare.  These  are  schools  for  foremen,  or 
(if  we  may  use  a  foreign  word  like  kindergar- 
ten) they  are  Meisterschaft  schools,  schools 
for  training  masters. 

(f)  Youth  who  wish  to  enter  the  highest 
department  of  engineering,  must  follow  long 
courses  in  mathematics  and  physics,  and  must 
learn  to  apply  their  knowledge ;  if  they  w  ish 
to  enter  upon  other  branches  of  advanced 
science,  they  must  work  in  the  scientific  lab- 
oratories now  admirably  ecjuipped  in  every 
part  of  the  country.  These  are  technical  col- 
leges for  engineers,  for  chemists,  for  explorers, 
for  naturalists,  etc. 

(g)  Art  instruction  must  be  provi(led  as 
well  as  scientific,  elementary,  constructive, 
decorative,  and  professional  education. 

At  every  stage,  the  language  of  the  pencil 
and  of  the  pen  must  be  employed  ;  rede-craft 
must  be  practiced  with  hand-craft ;  and  there 
must  be  no  thought  of  immediate  profit  from 
that  which  is  done  in  the  early  and  rudimen- 
tary stages  of  the  training. 

D.  C.  Gilman. 


Ter  very 
can  be 
ss   the 


